GIFT  OF 

Harold  L.    Leupp 


THE  VERGE 


THE  VERGE 

A  PLAY  IN  THREE  ACTS 


BY 

SUSAN  GLASPELL 


BOSTON 

SMALL,  MAYNARD  &  COMPANY 
PUBLISHERS 


COPYRIGHT,  1322 
BY  3MAI.-L,  MA-YNARD  &'  COMPANY 


1 


L.    L 


Printed  in  the  United  States  of  America 


THE   MURRAY   PRINTING   COMPANY 
CAMBRIDGE.  MASS. 


THE  VERGE 

A   PLAY   IN   THREE  ACTS 

BY 

SUSAN  GLASPELL 


PERSONS  OF  THE   PLAY 

Anthony 

Harry  Archer  (Claire's  husband) 

Hattie  (The  Maid)      . 

Claire 

Dick  (Richard  Demming) 

Tom  Edgeworthy 

Elizabeth  (Claire's  Daughter) 

Adelaide  (Claire's  Sister) 

Dr.  Emmons 


THE  VERGE 

ACT  ONE 

The  Curtain  lifts  on  a  place  that  is  dark,  save  for  a 
shaft  of  light  from  below  which  comes  up  through  an  open 
trap  door  in  the  floor.  This  slants  up  and  strikes  the  long 
leaves  and  the  huge  brilliant  blossom  of  a  strange  plant 
\  whose  twisted  stem  projects  from  right  front.  Nothing  is 
'seen  except  this  plant  and  its  shadow.  A  violent  wind  is 
heard.  A  moment  later  a  buzzer.  It  buzzes  once  long  and 
three  short.  Silence.  Aga,'.n  ike  buzzer.  Then  from 
below  —  his  shadow  blocking  the  UyJ,  cwiez  ANTHONY, 
a  rugged  man  past  middle  life;  —  he  emerges  from  the 
stairway  into  the  darkness  of  the  room.  Is  dimly  seen 
taking  up  a  phone. 

ANTHONY 

Yes,  Miss  Claire?  —  I'll  see. 

[He  brings  a  thermometer  to  the  stairway  for 
light,  looks  sharply,  then  returns  to 
ike  phone. 

It's  down  to  forty-nine.  The  plants  are  in  danger  — 
[With  great  relief  and  approval. 
Oh,  that's  fine! 

[Hangs  up  the  receiver. 
Fine! 

[He  goes  back  down  the  stairway,  closing 
the  trap-door  upon  himself,  and  the 
curtain  is  drawn  upon  darkness  and 
wind. 

[It  opens  a  moment  later  on  the  greenhouse  in  the  sun 
shine  of  a  snowy  morning.  The  snow  piled  outside  is  at 
times  blown  through  the  air.  The  frost  has  made  patterns 
on  the  glass  as  if  —  as  Plato  would,  have  it  —  the  patterns 


2  THE  VERGE 

inherent  in  abstract  nature  and  behind  all  life  had  to  come 
out,  not  only  in  the  creative  heat  within,  but  in  the  creative 
cold  on  the  other  side  of  the  glass.  And  the  wind  makes 
patterns  of  sound  around  the  glass  house. 

The  back  wall  is  low;  the  glass  roof  slopes  sharply  up. 
There  is  an  outside  door,  a  little  toward  the  right.  From 
outside  two  steps  lead  down  to  it.  At  left  a  glass  partition 
and  a  door  into  the  inner  room.  One  sees  a  little  way  into 
this  room.  At  right  there  is  no  dividing  wall  save  large 
plants  and  vines,  a  narrow  aisle  between  shelves  of  plants 
leads  off. 

This  is  not  a  greenhouse  where  .plants  are  being  dis 
played,  nor  the'itsual  workshop  for  the  growing  of  them, 
butaplace  for  experirnvni  wick' plants,  a  laboratory. 

At  tEe  back  grows  a, strange  mn'e.  'It  is  Arresting  rather 
than  beautifftL  :  Ti  ^creeps  along-  the  low  wall,  and  one 
branch  gets  a  little  way  up  the  glass.  You  might  see  the 
form  of  a  cross  in  it,  if  you  happened  to  think  it  that  way. 
The  leaves  of  this  vine  are  not  the  form  that  leaves  have 
been.  They  are  at  once  repellent  and  significant. 

ANTHONY  is  at  work  preparing  soil  —  mixing,  sifting. 
As  the  wind  tries  the  door  he  goes  anxiously  to  the  ther 
mometer,  nods  as  if  reassured  and  returns  to  his  work. 
The  buzzer  sounds.  He  starts  to  answer  the  telephone, 
remembers  something,  halts  and  listens  sharply.  It  does 
not  buzz  once  long  and  three  short.  Then  he  returns  to  his 
work.  The  buzzer  goes  on  and  on  in  impatient  jerks  which 
mount  in  anger.  Several  times  ANTHONY  is  almost  com 
pelled  by  this  insistence,  but  the  thing  that  holds  him  back 
is  stronger.  At  last,  after  a  particularly  mad  splutter,  to 
which  ANTHONY  longs  to  make  retort,  the  buzzer  gives  it 
up.  ANTHONY  goes  on  preparing  soil. 

A  moment  later  the  glass  door  swings  violently  in,  snow 
blowing  in,  and  also  MR.  HARRY  ARCHER,  wrapped  in  a 
rug. 

ANTHONY 
Oh,  please  close  the  door,  sir. 


THE  VERGE  3 

HARRY 

Do  you  think  I'm  not  trying  to? 

[He  holds   it  open  to  say  this. 

ANTHONY 

But  please  do.  This  stormy  air  is  not  good  for  the 
plants. 

HARRY 

I  suppose  it's  just  the  thing  for  me!.  Now,  what  do 
you  mean,  Anthony,  by  not  answering  the  phone  when 
I  buzz  for  you? 

ANTHONY 

Miss  Claire  —  Mrs.  Archer  told  me  not  to. 

HARRY 
Told  you  not  to  answer  me? 

ANTHONY 
Not  you  especially  —  nobody  but  her. 

HARRY 
Well  I  like  her  nerve  —  and  yours. 

ANTHONY 

You  see,  she  thought  it  took  my  mind  from  my  work 
to  be  interrupted  when  I'm  out  here.  And  so  it  does. 
So  she  buzzes  once  long  and  —  Well,  she  buzzes  her 
way,  and  all  other  buzzing  — 

HARRY 
May  buzz. 

ANTHONY 

[Nodding  gravely.]  She  thought  it  would  be  better 
for  the  flowers. 


THE  VERGE 

HARRY 

I  am  not  a  flower  —  -true,  but  I  too  need  a  little 
•—  and  '"" 


attention  •—  and  q.     fftle'Kfiat..""  Will  voii"p1pasp'TpTr  me 
why  the  house  is  frigid? 

ANTHONY 

Miss  Claire  ordered  all  the  heat  turned  out  here. 
[Patiently  explaining  it  to  Miss  Claire's  speechless  hus 
band.]  You  see  the  roses  need  a  great  deal  of  heat. 

HARRY 

[Reading  the  thermometer.]  The  roses  have  seventy- 
three.  I  have  forty-five. 

ANTHONY 
Yes,  the  roses  need  seventy-three. 

HARRY 

Anthony,  this  is  an  outrage! 

ANTHONY 

I  think  it  is  myself  ;  when  you  consider  what  we  paid 
for  that  heating  plant  —  but  as  long  as  it  is  defective 
—  Why,  Miss  Claire  would  never  have  done  what  she 
has  if  she  hadn't  looked  out  for  her  plants  in  just  such 
ways  as  this.  Have  you  forgotten  that  Breath  of  Life 
is  about  to  flower? 

HARRY 

And  where's  my  breakfast  about  to  flower  —  that's 
what  I  want  to  know. 

ANTHONY 

Why  Miss  Claire  got  up  at  five  o'clock  to  order  the 
heat  turned  off  from  the  house. 

HARRY 
I  see  you  admire  her  vigilance. 


THE  VERGE  5 

ANTHONY 

Oh,  I  do.  [Fervently.]  I  do.  Harm  was  near,  and 
that  woke  her  up. 

HARRY 

And  what  about  the  harm  to  —  [Tapping  his  chest.] 
Do  roses  get  pneumonia? 

ANTHONY 

Oh,  yes  —  yes  indeed  they  do.  Why,  Mr.  Archer, 
look  at  Miss  Claire  herself.  Hasn't  she  given  her  heat 
to  the  roses? 

HARRY 

[Pulling  the  rug  around  him,  preparing  for  the  blizzard.] 
She  has  the  fire  within. 

ANTHONY 

[Delighted.]  Now  isn't  that  true !  How  well  you  said 
it.  [With  a  glare  for  this  appreciation,  HARRY  opens  the 
door.  It  blows  away  from  him.]  Please  do  close  the  door ! 

HARRY 

[Furiously.]  You  think  it  is  the  aim  of  my  life  to 
hold  it  open? 

ANTHONY 

[Getting  hold  of  it.]  Growing  things  need  an  even 
temperature. 

[While  saying  this  he  gets  the  man  out  into 
the  snow. 

[ANTHONY  consults  the  thermometer,  not  as 
pleased  this  time  as  he  was  before.  He 
then  looks  minutely  at  two  of  the 
plants  —  one  is  a  rose,  the  other  a 
flower  without  a  name  because  it  has 
not  long  enough  been  a  flower.  Peers 
into  the  hearts  of  them.  Then  from  a 
drawer  under  a  shelf,  takes  two  paper 


6  THE  VERGE 

bags,  puts  one  over  each  of  these 
flowers,  closing  them  down  at  the 
bottom.  Again  the  door  blows  wildly 
in,  also  HATTIE,  a  maid  with  a 
basket. 

«M 

ANTHONY 

What  do  you  mean  —  blowing  in  here  like  this!  Mrs. 
Archer  has  ordered  — 

HATTIE 
Mr.  Archer  has  ordered  breakfast  served  here. 

[She  uncovers  the  basket  and  takes  out  an 
electric  toaster. 


'( 4'i^i 


ANTHONY 
Breakfast  —  here  ?  Eat  —  here  ?  Where  plants  grow  ? 

HATTIE 
The  plants  won't  poison  him,  will  they? 

[At  a  loss  to  know  what  to  do  with  things, 
she  puts  the  toaster  under  the  strange 
vine  at  the  back,  whose  leaves  lift  up 
against  the  glass  which  has  frost 
leaves  on  the  outer  side. 

ANTHONY 

[Snatching  it  away]    You  —  you  think  you  can  cook 
eggs  under  the  Edge  Vine  ? 

HATTIE 

I  guess  Mr.  Archer's  eggs  are  as  important  as  a  vine. 
I  guess  my  work's  as  important  as  yours. 

ANTHONY 

There's  a  million  people  like  you -^_ancLJike_Mr. 
Arcner.    In  all  the  world  there  is  only  one  EdgcTVine. 


THE  VERGE  7 

HATTIE 

Well,  maybe  one's  enough.    It  don't  look  like  nothin' 
anyhow. 

ANTHONY 

And  you've  not  got  the  wit  to  know  that  that's  why 
it's  the  Edge  Vine. 

HATTIE 

You  want  to  look  out,  Anthony.    You  talk  nutty. 
Everybody  says  so. 

ANTHONY 
Miss  Claire  don't  say  so. 

HATTIE 
No,  because  she's  — 

ANTHONY 
You  talk  too  much! 

[Door  opens,  admitting  HARRY,  with  a 
thermos  bottle. 

ANTHONY 
Please  close  — 

[HARRY  halts  his  attempt  at  closing  the  door 
to  give  ANTHONY  a  look,  ANTHONY 
gets  the  door  shut.  HARRY,  after  look 
ing  around  for  the  best  place  to  eat 
breakfast,  moves  a  box  of  earth  from 
the  table. 

HARRY 
Just  give  me  a  hand,  will  you,  Hattie? 

[They  bring  it  to  the  open  space  and  he  and 
HATTIE  arrange  breakfast  things, 
HATTIE  with  triumphant  glances  at 
the  distressed  ANTHONY. 


8  THE  VERGE 

ANTHONY 

[Deciding  he  must  act.]  Mr.  Archer,  this  is  not  the 
place  to  eat  breakfast! 

HARRY 
Dead  wrong,  old  boy.    The  place  that  has  heat  is 

the  place  to  eat  breakfast.  [To  HATTIE.]"  Tell  the 
other  gentlemen  —  I  heard  Mr.  Demming  up,  and 
Mr.  Edgeworthy,  if  he  appears,  that  as  long  as  it  is  such 
a  pleasant  morning,  we're  having  breakfast  outside. 
To  the  conservatory  for  coffee.  [HATTIE  giggles,  is 
leaving.]  And  let's  see,  have  we  got  everything? 
[Takes  the  one  shaker,  shakes  a  little  pepper  on  his  hand. 
Looks  in  vain  for  the  other  shaker.]  And  tell  Mr. 
Demming  to  bring  the  salt. 

ANTHONY 
Mr.  Archer,  I  am  sorry  to  say  anything  — 

HARRY 

[Who  is  taking  of  a  bulb  and  attaching  the  toaster.] 
Then  why  do  you? 

ANTHONY 
But  Miss  Claire  will  be  very  angry. 

HARRY 
I  am  very  angry.     Did  I _chpose  to _eat_my. breakfast 

at  the  other  end  of  a  blizzard? 

'**    '**^jft*" 

ANTHONY 

[An  exclamation  of  horror  at  the  thermometer.]  The 
temperature  is  falling.  I  must  report.  [He  punches  the 
buzzer,  takes  up  the  phone.}  Miss  Claire?  It  is  Anthony. 
A  terrible  thing  has  happened.  Mr.  Archer  —  what? 
Yes,  a  terrible  thing  —  Yes,  it  is  about  Mr.  Archer — 
No  —  no,  not  dead.  But  here.  He  is  here.  Yes,  he  is 
well,  he  seems  well,  but  he  is  eating  his  breakfast.  Yes, 


THE  VERGE  9 

he  is  having  breakfast  served  out  here  —  for  himself, 
and  the  other  gentlemen  are  to  come  too  —  Well,  he 
seemed  to  be  annoyed  because  the  heat  had  been 
turned  off  from  the  house.  But  the  door  keeps  opening 
—  this  stormy  wind  blowing  right  over  the  plants. 
The  temperature  has  already  fallen  —  Yes,  yes.  I 
thought  you  would  want  to  come. 

[ANTHONY  opens  the  trap  door  and  goes 
below.  HARRY  looks  disapprovingly 
down  into  this  openness  at  his  feet, 
returns  to  his  breakfast.  ANTHONY 
comes  up,  bearing  a  box. 

HARRY 
[Turning  his  face  away.]     Phew!    What  a  smell. 

ANTHONY 
Yes.     Fertilizer  has  to  smell. 

HARRY 
Well  it  doesn't  have  to  smell  up  my  breakfast! 

ANTHONY 

[With  a  patient  sense  of  order.]     The  smell  belongs 
here.     [He  and  the  smell  go  to  the  inntfr-reemrj^"" 

[The  outer  door  opens  just  enough  to  admit 
CLAIRE  —  is  quickly  closed.  With 
CLAIRE  in  a  room  another  kind  of 
aliveness  is  there. 

CLAIRE 
What  are  you  doing  here? 

HARRY 
Getting  breakfast. 

[All  the  while  doing  so. 


10  THE   VERGE 

CLAIRE 
I'll  not  have  you  in  my  place! 

HARRY 
If  you  take  all  the  heat  then  you  have  to  take  me. 

CLAIRE 
FJ1  show  you  how  I  have  to  take  you. 

[With  her  hands~l>egins_scooping  upon  him 
the  soil  "ANTHONY"  ftajf  "prepared. 

HARRY 

[Jumping  up,  laughing,  pinning  down  her  arms,  putting 
his  arms  around  her.]  Claire  —  be  decent.  What 
harm  do  I  do  here? 

CLAIRE 

You  pull  down  the  temperature. 

HARRY 

Not  after  I'm  in. 

CLAIRE 

And  you  told  Tom  and  Dick  to  come  and  make  it 
uneven. 

HARRY 

Tom  and  Dick  are  our  guests.  We  can't  eat  where 
it's  warm  and  leave  them  to  eat  where  it's  cold. 

CLAIRE 
I  don't  see  why  not. 

HARRY 
You  only  see  what  you  want  to  see. 

CLAIRE 

That's  not  true.  I  wish  it  were.  No;  no,  I  don't 
either.  [She  is  disturbed  —  that  troubled  thing  which 
rises  from  within,  from  deep,  and  takes  CLAIRE.  She 


THE  VERGE  11 

turns    to    the    Edge    Vine,    examines.     Regretfully    to 
ANTHONY,  who  has  come  in  with  a  plant.]    It's  turning 


<y 
ANTHONY 


Can  you  be  sure  yet,  Miss  Claire?  I 


CLAIRE 

Oh  yes  —  it's  had  its  chance.  It  doesnt  want  to  be 
—  what  hasn't  been.  —  -fin  u/zvottf  ^ta">'<  >A^L 

HARRY    W-*~  O<AQHW>A 

[jy/K?  &as  turned  at  this  note  in  her  voice.  Speaks 
kindly.]  Don't  take  it  so  seriously,  Claire. 

[Claire  laughs. 
CLAIRE 

No,  I  suppose  not.  But  it  does  matter  —  and  why 
should  I  pretend  it  doesn't,  just  because  I've  failed 
with  it? 

HARRY 

Well,  I  don't  want  to  see  it  get  you  —  it's  not 
important  enough  for  that. 

CLAIRE 

[In  her  brooding  way.  ]  Anything  is  important 
enough  for  that  —  if  it's  important  at  all.  [To  the 
vine.]  I  thought  you  were  out,  but  you're  —  going 
back  home. 

ANTHONY 

But  you're  doing  it  this  time,  Miss  Claire.  When 
Breath  of  Life  opens  —  and  we  see  its  heart  — 

CLAIRE  looks  toward  the  inner  room. 
Because  of  intervening  plants  they  do 
not  see  what  is  seen  from  the  front  — 
a  plant  like  caught  motion,  and  of  a 
greater  transparency  than  plants  have 
had.  Its  leaves,  like  waves  that  curl, 
close  around  a  heart  that  is  not  seen. 


12  THE  VERGE 

This  plant  stands  by  itself  in  what, 
because  of  the  arrangement  of  things 
about  it,  is  a  hidden  place.  But 
nothing  is  between  it  and  the  light. 

CLAIRE 

Yes,  if  the  heart  has  [a  little  laugh]  held  its  own,  then 
Breath  of  Life  is  alive  in  its  otherness.  But  Edge  Vine 
is  running  back  to  what  it  broke  out  of. 

HARRY 
Come  have  some  coffee,  Claire. 

[ANTHONY  returns  to  the  inner  room,  the 
outer  door  opens,  DICK  is  hurled  in. 

CLAIRE 

[Going  to  the  door,  as  he  gasps  for  breath  before  closing 
it.]   How  dare  you  make  my  temperature  uneven! 
[She  shuts  the  door  and  leans  against  it.] 

DICK 
Is  that  what  I  do? 

[A  laugh,  a  look  between  them,  which  is 
held  into  significance. 

HARRY 

[Who  is  not  facing  them.]  Where's  the  salt? 

DICK 

Oh,  I  fell  down  in  the  snow.  I  must  have  left  the 
salt  where  I  fell.  I'll  go  back  and  look  for  it. 

CLAIRE 
And  change  the  temperature?    We  don't  need  salt. 

HARRY 
You  don't  need  salt,  Claire.    But  we  eat  eggs. 


THE   VERGE  13 

CLAIRE 

I  must  tell  you  I  don't  like  the  idea  of  any  food  being 
eaten  here,  where  things  have  their  own  way  to  go. 
Please  eat  as  little  as  possible,  and  as  quickly. 

HARRY 
A  hostess  calculated  to  put  one  at  one's  ease. 

CLAIRE 

[With  no  ill-nature.]  I  care  nothing  about  your  ease. 
Or  about  Dick's  ease. 

DICK 

And  no  doubt  that's  what  makes  you  so  fascinating  a 
hostess. 

CLAIRE 

Was  I  a  fascinating  hostess  last  night,  Dick?  [Softly 
sings.]  "  Oh,  night  of  love  —  " 

[From  the  Barcarole  of  Tales  of  Hoffman. 

HARRY 
We've  got  to  have  salt. 

[He  starts  for  the  door.  CLAIRE  slips  in 
ahead  of  him,  locks  it,  takes  the  key. 
He  marches  off  right. 

CLAIRE 
[Calling  after  him]    That  end's  always  locked. 

DICK 

Claire  darling,  I  wish  you  wouldn't  say  those  startling 
things.  You  do  get  away  with  it,  but  I  confess  it  gives 
me  a  shock  —  and  really,  it's  unwise. 

CLAIRE 

Haven't  you  learned  that  the  best  place  to  hide  is  in 
the  truth?  [As  HARRY  returns]  Why  won't  you 


14  THE  VERGE 

believe  me,  Harry,  when  I  tell  you  the  truth  —  about 
doors  being  locked? 

HARRY 

Claire,  it's  selfish  of  you  to  keep  us  from  eating  salt 
just  because  you  don't  eat  salt. 

CLAIRE 

[With  one  of  her  swift  changes.  ]  Oh,  Harry!  Try 
your  egg  without  salt.  Please  —  Please  try  it  without 
salt! 

[An  intensity  which  seems  all  out  of  pro 
portion  to  the  subject. 

HARRY 

An  egg  demands  salt. 

CLAIRE 

"  An  egg  demands  salt."  Do  you  know,  Harry,  why 
you  are  such  an  unseasoned  person?  "  An  egg  demands 
salt." 

HARRY 
Well,  it  doesn't  always  get  it. 

CLAIRE 
But  your  spirit  gets  no  lift  from  the  salt  withheld. 

HARRY 

Not  an  inch  of  lift. 

[Going  back  to  his  breakfast. 

CLAIRE 

And  pleased  —  so  pleased  with  itself,  for  getting  no 
lift.  Sure  it  is  just  the  right  kind  of  spirit  —  because 
it  gets  no  lift.  [More  brightly]  But,  Dick,  you  must 
have  tried  your  egg  without  salt. 

DICK 

I'll  try  it  now. 

[He  goes  to  the  breakfast  table. 


THE   VERGE  15 

CLAIRE 

You  must  have  tried  and  tried  things.  Isn't  that  the 
way  one  leaves  the  normal,  and  gets  into  the  byways  of 
perversion. 

HARRY 

Claire. 

DICK 

[Pushing  back  his  egg.]  If  so,  I  prefer  to  wait  for  the 
salt. 

HARRY 
Claire,  there  is  a  limit. 

CLAIRE 

Precisely  what  I  had  in  mind.  To  perversion  too 
there  is  a  limit.  So  —  the  fortifications  are  unassailable. 
If  one  ever  does  get  out,  I  suppose  it  is  —  quite  unex 
pectedly,  and  perhaps  —  a  bit  terribly. 

HARRY 
Get  out  where? 

CLAIRE 
[With  a  bright  smile.]  Where  you,  darling,  will  never 

go- 

HARRY 

And  from  which  you,  darling,  had  better  beat  it. 

CLAIRE 

I  wish  I  could.  [To  herself.]  No  —  no  I  don't 
either. 

[Again  this  troubled  thing  turns  her  to  the 
plants.  She  puts  by  themselves  the  two 
which  ANTHONY  covered  with  paper 
bags.  Is  about  to  remove  these  papers. 
HARRY  strikes  a  match. 


16  THE   VERGE 

CLAIRE 

[Turning   sharply.]     You    can't   smoke   here.     The 
plants  are  not  used  to  it. 

HARRY 

Then  I  should  think  smoking  would  be  just  the  thing 
for  them. 

CLAIRE 
There  is  design. 

HARRY 

[To  Dick.]   Am  I  supposed  to  be  answered?   I  never 
can  be  quite  sure  at  what  moment  I  am  answered. 

[They  both  watch  CLAIRE,  who  has  uncov 
ered  the  plants  and  is  looking  intently 
into  the  flowers.  From  a  drawer  she 
takes  some  tools.  Very  carefully  gives 
the  rose  pollen  to  an  unfamiliar 
flower  —  rather  wistfully  unfamiliar, 
which  stands  above  on  a  small  shelf 
near  the  door  of  the  inner  room. 

DICK 
What  is  this  you're  doing,  Claire? 

CLAIRE 
Pollenizing.     Crossing  for  fragrance. 

DICK 
It's  all  rather  mysterious,  isn't  it? 

HARRY 

And  Claire  doesn't  make  it  any  less  so. 

CLAIRE 
Can  I  make  life  any  less  mysterious? 


THE  VERGE  17 

HARRY 

If  you  know  what  you  are  doing,  why  can't  you  tell 
Dick? 

DICK 

Never  mind.     After  all,  why  should  I  be  told? 

[He  turns  away. 

[At  that  she  wants  to  tell  him.  Helpless,  as 
one  who  cannot  get  across  a  stream, 
starts  uncertainly. 

CLAIRE 

I  want  to  give  fragrance  to  Breath  of  Life  —  [Faces 
the  room  beyond  the  wall  of  glass.]  —  the  flower  I've 
created  that  is  outside  what  flowers  have  been.  What 
has  gone  out  should  bring  fragrance  from  what  it  has 
left.  But  no  definite  fragrance,  no  limiting  enclosing 
thing.  I  call  the  fragrance  I  am  trying  to  create  — 
Reminiscence.  [Her  hand  on  the  pot  of  the  wistful  little 
flower  she  has  just  given  pollen.]  Reminiscent  of  the 
rose,  the  violet,  arbutus  —  but  a  new  thing  —  itself. 
Breath  of  Life  may  be  lonely  out  in  what  hasn't  been. 
Perhaps  some  day  I  can  give  it  reminiscence. 

DICK 
I  see,  Claire. 

CLAIRE 
I  wonder  if  you  do. 

HARRY 

Now,  Claire,  you're  going  to  be  gay  today,  aren't 
you?  These  are  Tom's  last  couple  of  days  with  us. 

CLAIRE 
That  doesn't  make  me  especially  gay. 

HARRY 

Well,  you  want  him  to  remember  you  as  yourself, 
don't  you? 


18  THE  VERGE 

CLAIRE 
I  would  like  him  to.   Oh  —  I  would  like  him  to! 

HARRY 
Then  be  amusing.    That's  really  you,  isn't  it  Dick? 

DICK 
Not  quite  all  of  her  —  I  should  say. 

CLAIRE 

[Gayly.]  Careful,  Dick.  Aren't  you  indiscreet? 
Harry  will  be  suspecting  that  I  am  your  latest  strumpet. 

HARRY 

Claire!  What  language  you  use!  A  person  know 
ing  you  only  by  certain  moments  could  never  be  made 
to  believe  you  are  a  refined  woman. 

CLAIRE 
True,  isn't  it,  Dick? 

HARRY 

It  would  be  a  good  deal  of  a  lark  to  let  them  listen 
in  at  times  —  then  tell  them  that  here  is  the  flower  of 
New  England! 

CLAIRE 

Well,  if  this  is  the  flower  of  New  England,  then  the 
half  has  never  been  told. 

DICK 
About  New  England? 

CLAIRE 

I  thought  I  meant  that.  Perhaps  I  meant  —  about 
me. 

HARRY 

[Going  on  with  his  own  entertainment.]  Explain  that 
this  is  what  came  of  the  men  who  made  the  laws  that 


THE  VERGE  19 

made  New  England,  that  here  is  the  flower  of  those 
gentlemen  of  culture  who  — 

DICK 
Moulded  the  American  mind! 

CLAIRE 
Oh! 

[It  is  pain. 

HARRY 
Now  what's  the  matter? 

CLAIRE 
I  want  to  get  away  from  them! 

HARRY 
Rest  easy,  little  one  —  you  do. 

CLAIRE 

I'm  not  so  sure  —  that  I  do.  But  it  can  be  done! 
We  need  not  be  held  in  forms  molded  for  us.  There  is 
outness  —  and  otherness. 

HARRY 

Now,  Claire  —  I  didn't  mean  to  start  anything 
serious. 

CLAIRE 

No;  you  never  mean  to  do  that.  I  want  to  break  it 
up !  I  tell  you,  I  want  to  break  it  up !  If  it  were  all  in 
pieces,  we'd  be  [A  little  laugh]  shocked  to  aliveness  — 
[To  Dick]  wouldn't  we?  There  would  be  strange  new 
comings  together  —  mad  new  comings  together,  and 
we  would  know  what  it  is  to  be  born,  and  then  we 
might  know  —  that  we  are.  Smash  it.  [Her  hand  is 
near  an  egg]  As  you'd  smash  an  egg. 

[She  pushes  the  egg  over  the  edge  of  the 

table  and  leans  over  and  looks,  as  over 

a  precipice. 


20  THE  VERGE 

HARRY 

[With  a  sigh.]  Well,  all  you've  smashed  is  the  egg, 
and  all  that  amounts  to  is  that  now  Tom  gets  no  egg. 
So  that's  that. 

CLAIRE 

[With  difficulty,  drawing  herself  back  from  the  fascina 
tion  of  the  precipice.]  You  think  I  can't  smash  any 
thing?  You  think  life  can't  break  up,  and  go  outside 
what  it  was  ?  Because  you've  gone  dead  in  the  form  in 
which  you  found  yourself,  you  think  that's  all  there  is 
to  the  whole  adventure?  And  that  is  called  sanity. 
And  made  a  virtue  —  to  lock  one  in.  You  never 
worked  with  things  that  grow!  Things  that  take  a 
sporting  chance  —  go  mad  —  that  sanity  mayn't  lock 
them  in  —  from  life  untouched  —  from  life  —  that 
waits.  [She  turns  toward  the  inner  room.]  Breath  of 
Life. 

[She  goes  in  there. 
HARRY 

Oh,  I  wish  Claire  wouldn't  be  strange  like  that. 
[Helplessly.]  What  is  it?  What's  the  matter? 

DICK 

It's  merely  the  excess  of  a  particularly  rich  tempera 
ment. 

HARRY 

But  it's  growing  on  her.    I  sometimes  wonder  if  all 

this  —  [Indicating  the  place  around  him.]    is  a  good 

thing.    It  would  be  all  right  if  she'd  just  do  what  she 

did  in  the  beginning  —  make  the  flowers  as  good  as 

possible  of  their  kind    That's  an  awfully  nice  thing  for 

/•  a  woman  to  do  —  raise  flowers.    But  there's  something 

•  about    this  —  changing    things    into    other    things  — 

putting  things  together  and  making  queer  new  things 

—  this  — 

DICK 
Creating? 


THE  VERGE  21 

HARRY 

Give  it  any  name  you  want  it  to  have —  it's  unsettling 
for  a  woman.  They  say  Claire's  a  shark  at  it,  but 
what's  the  good  of  it,  if  it  gets  her?  What  is  the  good 
of  it,  anyway?  Suppose  we  can  produce  new  things. 
Lord  —  look  at  the  old  ones  we've  got.  [Looks  outside; 
turns  back.]  Heavens,  what  a  noise  the  wind  does 
make  around  this  place.  [But  now  it  is  not  all  the 
wind,  but  TOM  EDGEWORTHY,  who  is  trying  to  let  himself 
in  at  the  locked  door,  their  backs  are  to  him.]  I  want  my 
egg.  You  can't  eat  an  egg  without  salt.  I  must  say 
I  don't  get  Claire  lately.  I'd  like  to  have  Charlie 
Emmons  see  her  —  he's  fixed  up  a  lot  of  people  shot 
to  pieces  in  the  war.  Claire  needs  something  to  tone 
her  nerves  up.  You  think  it  would  irritate  her? 

DICK 
She'd  probably  get  no  little  entertainment  out  of  it. 

HARRY 

Yes,  dog-gone  her,  she  would.  [Ton  now  takes  more 
heroic  measures  to  make  himself  heard  at  the  door.] 
Funny  —  how  the  wind  can  fool  you.  Now  by  not 
looking  around  I  could  imagine  —  why  I  could  imagine 
anything.  Funny,  isn't  it,  about  imagination?  And 
Claire  says  I  haven't  got  any! 

DICK 

It  would  make   an   amusing   drawing  —  what   the 

wind  makes  you  think  is  there.  [First  makes  forms  with 

his  hands,  then  leveling  the  soil  prepared  by  ANTHONY, 

traces  lines  with  his  finger.]     Yes,  really  —  quite  jolly. 

[Ton,   after  a  moment  of  peering  in  at 

them,  smiles,  goes  away. 

HARRY 
You're  another  one  of  the  queer  ducks,  aren't  you? 


22  THE  VERGE 

Come  now  —  give  me  the  dirt.  Have  you  queer  ones 
really  got  anything  —  or  do  you  just  put  it  over  on  us 
that  you  have?  [DICK  smiles,  draws  on.]  Not  saying 
anything,  eh?  Well,  I  guess  you're  wise  there.  If  you 
keep  mum  —  how  we  going  to  prove  there's  nothing 
there? 

DICK 

I  don't  keep  mum.     I  draw. 

HARRY 

Lines  that  don't  make  anything  —  how  can  they 
tell  you  anything?  Well,  all  I  ask  is,  don't  make  Claire 
queer.  Claire's  a  first  water  good  sport  —  really,  so 
don't  encourage  her  to  be  queer. 

DICK 

Trouble  is,  if  you're  queer  enough  to  be  amusing,  it 
might  —  open  the  door  to  queerness. 

HARRY 
Now  don't  say  things  like  that  to  Claire. 

DICK 

I  don't  have  to. 

HARRY 

Then  you^  think  she's  queer,  do  you?  Queer  as  you 
are,  you  think  she's  queer.  I  would  like  to  have  Dr. 
Emmons  come  out.  [After  a  moment  of  silently  watch 
ing  DICK,  who  is  having  a  good  time  with  his  drawing.] 
You  know,  frankly,  I  doubt  if  you're  a  good  influence 
for  Claire.  [DICK  lifts  his  head  ever  so  slightly.]  Oh, 
I  don't  worry  a  bit  about  —  things  a  husband  might 
worry  about.  I  suppose  an  intellectual  woman  —  and 
for  all  Claire's  hate  on  her  ancestors,  she's  got  the  bug 
herself.  Why  she  has  times  of  boring  into  things  until 
she  doesn't  know  you're  there.  What  do  you  think  I 
caught  her  doing  the  other  day?  Reading  Latin.  Well 


THE  VERGE  23 

—  a  woman  that  reads  Latin  needn't  worry  a  husband 
much. 

DICK 
They  said  a  good  deal  in  Latin. 

HARRY 

But  I  was  saying,  I  suppose  a  woman  who  lives  a 
good  deal  in  her  mind  never  does  have  much  —  well, 
what  you  might  call  passion.  [Uses  the  word  as  if  it 
shouldn't  be  used.  Brows  knitted,  is  looking  ahead,  does 
not  see  DICK'S  face.  Turning  to  him  with  a  laugh.] 
I  suppose  you  know  pretty  much  all  there  is  to  know 
about  women? 

DICK 

Perhaps  one  or  two  details  have  escaped  me. 

HARRY 

Well,  for  that  matter,  you  might  know  all  there  is  to 
know  about  women  and  not  know  much  about  Claire. 
But  now  about  —  [does  not  want  to  say  passion  again] 

—  oh,  feeling  —  Claire  has  a  certain  —  well,  a  certain 

DICK 
Irony  ? 

HARRY 
Which  is  really  more —  more  — 

DICK 
More  fetching,  perhaps. 

HARRY 

Yes !  Than  the  thing  itself.  But  of  course  —  you 
wouldn't  have  much  of  a  thing  that  you  have  irony 
about. 

DICK 

Oh  —  wouldn't  you!   I  mean  —  a  man  might. 


24  THE  VERGE 

HARRY 

I'd  like  to  talk  to  Edgeworthy  about  Claire.  But 
it's  not  easy  to  talk  to  Tom  about  Claire  —  or  to  ".Claire 
about  Tom. 

DICK 

[Alert.]    They're  very  old  friends,  aren't  they? 

HARRY 

Why  —  yes,  they  are.  Though  they've  not  been 
together  much  of  late  years,  Edgeworthy  always  going 
to  the  ends  of  the  earth  to  —  meditate  about  something. 
I  must  say  I  don't  get  it.  If  you  have  a  place  —  that's 
the  place  for  you  to  be.  And  he  did  have  a  place  — 
best  kind  of  family  connections,  and  it  was  a  very  good 
business  his  father  left  him.  Publishing  business  —  in 
good  shape,  too,  when  old  Edgeworthy  died.  I  wouldn't 
call  Tom  a  great  success  in  life  —  but  Claire  does  listen 
to  what  he  says. 

DICK 

Yes,  I've  noticed  that. 

HARRY 

So,  I'd  like  to  get  him  to  tell  her  to  quit  this  queer 
business  of  making  things  grow  that  never  grew  before. 

DICK 

But  are  you  sure  that's  what  he  would  tell  her. 
Isn't  he  in  the  same  business  himself? 

HARRY 
Why  he  doesn't  raise  anything. 

[ToM  is  again  at  the  door. 

DICK 

Anyway  I  think  he  might  have  some  idea  that  we 
can't  very  well  reach  each  other. 


THE   VERGE  25 

HARRY 

Damn  nonsense.   What  have  we  got  intelligence  for  ? 

DICK 

To  let  each  other  alone,  I  suppose.  Only  we  haven't 
enough  to  do  it. 

[ToM  is  now  knocking  on  the  door  with  a 
revolver.  HARRY  half  turns,  decides  to 
be  too  intelligent  to  turn.] 

HARRY 

Don't  tell  me  I'm  getting  nerves.  But  the  way  some 
of  you  people  talk  is  enough  to  make  even  an  aviator 
jumpy.  Can't  reach  each  other!  Then  we're  fools.  If 
I'm  here  and  you're  there  why  can't  we  reach  each 
other? 

DICK 

Because  I  am  I  and  you  are  you. 

HARRY 

No  wonder  your  drawing's  queer.  A  man  who  can't 
reach  another  man  — 

[ToM  here  reaches  them  by  pointing  the 
revolver  in  the  air  and  firing  it.  DICK 
digs  his  hand  into  the  dirt.  HARRY 
jumps  to  one  side,  fearfully  looks 
around.  TOM,  with  a  pleased  smile 
to  see  he  at  last  has  their  attention, 
moves  the  handle  to  indicate  he  would 
be  glad  to  come  in. 

HARRY 

Why  — it's  Tom!  What  the—?  [Going  to  the 
door.}  He's  locked  out.  And  Claire's  got  the  key. 
[Goes  to  the  inner  door,  tries  it.}  And  she's  locked  in! 
[Trying  to  see  her  in  there.}  Claire!  Claire!  [Return 
ing  to  ike  outer  door.}  Claire's  got  the  key  —  and  I 


26  THE  VERGE 

can't  get  to  Claire.  [Makes  a  futile  attempt  at  getting 
the  door  open  without  a  key,  goes  back  to  inner  door  — 
peers,  pounds]  Claire!  Are  you  there?  Didn't  you 
hear  the  revolver?  Has  she  gone  down  cellar?  [Tries 
the  trap  door.]  Bolted!  Well  I  love  the  way  she  keeps 
people  locked  out ! 

DICK 

And  in. 

HARRY 

[Getting  angry,  shouting  at  the  trap  door]  Didn't  you 
hear  the  revolver?  [Going  to  TOM.]  Awfully  sorry, 
old  man,  but  —  [In  astonishment  to  DICK.]  He  can't 
hear  me.  [Ton,  knocking  with  the  revolver  to  get  their 
attention  makes  a  gesture  of  inquiry  with  it]  No  —  no 
—  no !  Is  he  asking  if  he  shall  shoot  himself  ?  [Shaking 
his  head  violently]  Oh,  no  —  no!  Um  —  urn! 

DICK 

Hardly  seems  a  man  would  shoot  himself  because  he 
can't  get  to  his  breakfast. 

HARRY 

I'm  coming  to  believe  people  would  do  anything! 
[TOM  is  making  another  inquiry  with  the  revolver]  No! 
not  here.  Don't  shoot  yourself.  [Trying  hard  to  get 
the  word  through]  Shoot  yourself.  I  mean  —  don't. 
[Petulantly  to  DICK.]  It's  ridiculous  that  you  can't 
make  a  man  understand  you  when  he  looks  right  at  you 
like  that.  [Turning  back  to  TOM.]  Read  my  lips. 
Lips.  I'm  saying  —  Oh  damn.  Where  is  Claire?  All 
right  —  I'll  explain  it  with  motions.  We  wanted  the 
salt.  .  .  .  [Going  over  it  to  himself]  and  Claire 
wouldn't  let  us  go  out  for  it  on  account  of  the  tem 
perature.  Salt.  Temperature.  [Takes  his  egg-cup  to 
the  door,  violent  motion  of  shaking  in  salt]  But  —  no  — 
[Shakes  his  head]  No  salt.  [He  then  takes  the  ther 
mometer,  a  flower  pot,  holds  them  up  to  TOM.]  On 


THE  VERGE  27 

account  of  the  temperature.  Tem-per-a  — [TOM  is  not 
getting  it.]  Oh  —  well,  what  can  you  do  when  a  man 
don't  get  a  thing?  [TOM  seems  to  be  preparing  the 
revolver  for  action.  HARRY  pounds  on  the  inner  door.] 
Claire!  Do  you  want  Tom  to  shoot  himself? 

[As  he  looks  in  there,  the  trap  door  lifts,  and 
CLAIRE  comes  half-way  up.] 

CLAIRE 
Why,  what  is  Tom  doing  out  there,  with  a  revolver?. 

HARRY 

He  is  about  to  shoot  himself  because  you've  locked 
him  out  from  his  breakfast. 

CLAIRE 

He  must  know  more  interesting  ways  of  destroying 
himself.  [Bowing  to  TOM.]  Good  morning.  [From 
his  side  of  the  glass  TOM  bows  and  smiles  back.]  Isn't  it 
strange  —  our  being  in  here  —  and  he  being  out  there? 

HARRY 
Claire,  have  you  no  ideas  of  hospitality  ?  Let  him  in ! 

CLAIRE 
In?     Perhaps  that  isn't  hospitality. 

HARRY 

Well,  whatever  hospitality  is,  what  is  out  there  is 
snow  —  and  wind  —  and  our  guest  —  who  was  asked 
to  come  here  for  his  breakfast.  To  think  a  man  has  to 
say  such  things. 

CLAIRE 

I'm  going  to  let  him  in.  Though  I  like  his  looks  out 
there. 

[She  takes  the  key  from  her  pocket. 


28  THE   VERGE 

HARRY 

Thank  heaven  the  door's  coming  open.  Somebody 
can  go  for  salt,  and  we  can  have  our  eggs. 

CLAIRE 

And  open  the  door  again  —  to  let  the  salt  in?  No. 
If  you  insist  on  salt  tell  Tom  now  to  go  back  and  get  it. 
It's  a  stormy  morning  and  there'll  be  just  one  opening 
of  the  door. 

HARRY 

How  can  we  tell  him  what  we  can't  make  him  hear? 
And  why  does  he  think  we're  holding  this  conversation 
instead  of  letting  him  in? 

CLAIRE 

It  would  be  interesting  to  know.  I  wonder  if  he'll  tell 
us? 

HARRY 

Claire!   Is  this  any  time  to  wonder  anything? 

CLAIRE 

Give  up  the  idea  of  salt  for  your  egg  and  I'll  let  him 
in. 

[Holds  up  the  key  to  TOM  to  indicate  that 
for  her  part  she  is  quite  ready  to  let 
him  in.] 

HARRY 
I  want  my  egg! 

CLAIRE 

Then  ask  him  to  bring  the  salt.  It's  quite  simple. 
[HARRY  goes  through  another  pantomime 
with  the  egg  cup  and  the  missing 
shaker.  CLAIRE,  still  standing  half 
way  down  cellar,  sneezes.  HARRY 
growing  all  the  while  less  amiable, 


THE  VERGE  29 

explains  with  thermometer  and  flower 
pot  that  there  can  only  be  one  opening 
of  the  door.  TOM  looks  interested,  but 
unenlightened.  But  suddenly  he  smiles, 
nods,  vanishes. 

HARRY 
Well,  thank  heaven  [Exhausted]  that's  over. 

CLAIRE 

[Sitting  on  the  top  step]     It  was  all  so  queer.    He 
locked  out  on  his  side  of  the  door.    You  locked  in  on    /* 
yours.    Looking  right  at  each  other  and  — 

HARRY 

[In  mockery]  And  me  trying  to  tell  him  to  kindly 
fetch  the  salt ! 

CLAIRE 
Yes. 

HARRY 

[To  DICK.]  Well,  I  didn't  do  so  bad  a  job,  did  I? 
Quite  an  idea,  explaining  our  situation  with  the  ther 
mometer  and  the  flower  pot.  That  was  really  an 
apology  for  keeping  him  out  there.  Heaven  knows  — 
some  explanation  was  in  order.  [He  is  watching  and 
sees  TOM  coming.]  Now  there  he  is,  Claire.  And 
probably  pretty  well  fed  up  on  weather. 

[CLAIRE  goes  to  the  door,  stops  before  it. 
She  and  TOM  look  at  each  other  through 
the  glass.  Then  she  lets  him  in. 

TOM 

And  now  I  am  in.  For  a  time  it  seemed  I  was  not  to 
be  in.  But  after  I  got  the  idea,  that  you  were  keeping 
me  out  there  to  see  if  I  could  get  the  idea  —  it  would 
be  too  humiliating  for  a  wall  of  glass  to  keep  one  from 


30  THE  VERGE 

understanding.     [Taking  it  from  his  pocket.]     So  there's 
the  other  thermometer.    Where  do  you  want  it? 

[CLAIRE  takes  it. 
CLAIRE 
And  where's  the  pepper? 

TOM 
[Putting  it  on  the  table.]     And  here's  the  pepper. 

HARRY 
Pepper? 

TOM 
When  Claire  sneezed  I  knew  — 

CLAIRE 
Yes,  I  knew  if  I  sneezed  you  would  bring  the  pepper. 

TOM 

Funny,  how  one  always  remembers  the  salt,  but  the 
pepper  gets  overlooked  in  preparations.  And  what  is 
an  egg  without  pepper? 

HARRY 

[Nastily.]  There's  your  egg,  Edgeworthy.  [Point 
ing  to  it  on  the  floor.]  Claire  decided  it  would  be  a  good 
idea  to  smash  everything,  so  she  began  with  your  egg. 

TOM 

[Looking  at  his  egg.]  The  idea  of  smashing  everything 
is  really  more  intriguing  than  an  egg. 

HARRY 
Nice  that  you  feel  that  way  about  it. 

CLAIRE 

[Giving  TOM  his  coffee.]  You  want  to  hear  something 
amusing  ?  I  married  Harry  because  I  thought  he  would 
smash  something. 


THE   VERGE  31 

HARRY 
Well,  that  was  an  error  in  judgment. 

CLAIRE 

I'm  such  a  naive  trusting  person  —  [HARRY  laughs  — 
CLAIRE  gives  him  a  surprised  look,  continues  simply.] 
Such  a  guileless  soul  that  I  thought  flying  would  do 
something  to  a  man.  But  it  didn't  take  us  out.  We 
just  took  it  in. 

TOM 

It's  only  our  own  spirit  can  take  us  out. 

HARRY 
Whatever  you  mean  by  out. 

CLAIRE 

[After  looking  intently  at  TOM,  and  considering  it.]  But 
our  own  spirit  is  not  something  on  the  loose.  Mine 
isn't.  It  has  something  to  do  with  what  I  do.  To  fly. 
To  be  free  in  air.  To  look  from  above  on  the  world  of 
all  my  days.  Be  where  man  has  never  been !  Yes  — 
wouldn't  you  think  the  spirit  could  get  the  idea?  The 
earth  grows  smaller.  I  am  leaving.  What  are  they  — 
running  around  down  there  ?  Why  do  they  run  around 
down  there?  Houses?  Houses  are  funny  lines  and 
down-going  slants  —  houses  are  vanishing  slants.  I  am 
alone.  Can  I  breathe  this  rarer  air?  Shall  I  go  higher? 
Shall  I  go  too  high?  I  am  loose.  I  am  out.  But  no; 
man  flew,  and  returned  to  earth  the  man  who  left  it. 

HARRY 

And  jolly  well  likely  not  to  have  returned  at  all  if 
he'd  had  those  flighty  notions  while  operating  a 
machine. 


32  THE  VERGE 

CLAIRE 

Oh,  Harry!  [Not  lightly  asked.]  Can't  you  see  it 
would  be  better  not  to  have  returned  than  to  return 
the  man  who  left  it? 

HARRY 
I  have  some  regard  for  human  life. 

CLAIRE 

Why  no  —  I  am  the  one  who  has  the  regard  for 
human  life.  [More  lightly.]  That  was  why  I  swiftly 
divorced  my  stick-in-the-mud  artist  and  married  —  the 
man  of  flight.  But  I  merely  passed  from  a  stick-in-the- 
mud  artist  to  a  — 

DICK 
Stick-in-the-air  aviator? 

HARRY 

Speaking  of  your  stick-in-the-mud  artist,  as  you 
romantically  call  your  first  blunder,  isn't  his  daughter 
—  and  yours  —  due  here  today  ? 

CLAIRE 

I  knew  something  was  disturbing  me.  Elizabeth. 
A  daughter  is  being  delivered  unto  me  this  morning. 
I  have  a  feeling  it  will  be  more  painful  than  the  original 
delivery.  She  has  been,  as  they  quaintly  say,  educated; 
prepared  for  her  place  in  life. 

HARRY 

And  fortunately  Claire  has  a  sister  who  is  willing  to 
give  her  young  niece  that  place. 

CLAIRE 
The  idea  of  giving  anyone  a  place  in  life. 

HARRY 
Yes!    The  very  idea! 


THE  VERGE  33 

CLAIRE 

Yes !  [As  often,  the  mocking  thing  gives  true  expression 
to  what  lies  somberly  in  her.}  The  war.  There  was 
another  gorgeous  chance. 

HARRY 

Chance  for  what?  I  call  you,  Claire.  I  ask  you  to 
say  what  you  mean. 

CLAIRE 

I  don't  know  —  precisely.  If  I  did  —  there'd  be  no 
use  saying  it. 

[At   HARRY'S   impatient  exclamation  she 
turns  to  TOM.] 

TOM 

[Nodding.]  The  only  thing  left  worth  saying  is  the 
thing  we  can't  say. 

HARRY 
Help! 

CLAIRE 

Yes.  But  the  war  didn't  help.  Oh,  it  was  a  stunning 
chance !  But  fast  as  we  could  —  scuttled  right  back  to 
the  trim  little  thing  we'd  been  shocked  out  of. 

HARRY 
You  bet  we  did  —  showing  our  good  sense. 

CLAIRE 
Showing  our  incapacity  —  for  madness. 

HARRY 

Oh,  come  now  Claire  —  snap  out  of  it.  You're  not 
really  trying  to  say  that  capacity  for  madness  is  a 
good  thing  to  have? 

CLAIRE 
[In  simple  surprise.]    Why  yes,  of  course, 


34  THE  VERGE 

DICK 

But  I  should  say  the  war  did  leave  enough  madness  to 
give  you  a  gleam  of  hope. 

CLAIRE 

Not  the  madness  that  —  breaks  through.  And  it 
was  —  a  stunning  chance!  Mankind  massed  to  kill. 
We  have  failed.  We  are  through.  We  will  destroy. 
Break  this  up  —  it  can't  go  farther.  In  the  air  above 
—  in  the  sea  below  —  it  is  to  kill !  All  we  had  thought 
we  were  —  we  aren't.  We  were  shut  in  with  what 
wasn't  so.  Is  there  one  ounce  of  energy  has  not  gone  to 
this  killing?  Is  there  one  love  not  torn  in  two ?  Throw 
it  in!  Now?  Ready?  Break  up.  Push.  Harder. 
Break  up.  And  then  —  and  then  — !  But  we  didn't 
say  —  "And  then  —  "  The  spirit  didn't  take  the  tip. 

HARRY 

Claire!  Come  now  —  [Looking  to  the  others  for  help.] 
Let's  talk  of  something  else. 

CLAIRE 

Plants  do  it.  The  big  leap  —  it's  called.  Explode 
their  species  —  because  something  in  them  knows 
they've  gone  as  far  as  they  can  go.  Something  in  them 
knows  they're  shut  in  to  just  that.  So  —  go  mad  — 
that  life  may  not  be  prisoned.  Break  themselves  up  — 
into  crazy  things  —  into  lesser  things,  and  from  the 
pieces  —  may  come  one  sliver  of  life  with  vitality  to 
find  the  future.  How  beautiful.  How  brave. 

TOM 

[As  if  he  would  call  her  from  too  far  —  or  would  let  her 
know  he  has  gone  with  her.]  Claire! 

CLAIRE 

[Her  eyes  turning  to  him]  Why  should  we  mind  lying 
under  the  earth  ?  We  who  have  no  such  initiative  — 


THE  VERGE  35 

no  proud  madness?    Why  think  it  death  to  lie  under 
life  so  flexible  —  so  ruthless  and  ever-renewing  ? 

ANTHONY 
[From  the  door  of  the  inner  room.]     Miss  Claire? 

CLAIRE 
[A  fter  an  instant .  ]     Yes  ? 

[She  goes  with 'him,  as  they  disappear  his 
voice  heard,  "  show  me  now  .  .  . 
want  those  violets  bedded."} 

HARRY 

Oh,  this  has  got  to  stop.  I've  got  to  —  put  a  stop  to 
it  some  way.  Why  Claire  used  to  be  the  best  sport  a 
man  ever  played  around  with.  I  can't  stand  it  to  see 
her  getting  hysterical. 

TOM 
That  was  not  hysterical. 

HARRY 
What  was  it  then  —  I  want  to  know? 

TOM 
It  was  —  a  look. 

HARRY 

'Oh,  I  might  have  known  I'd  get  no  help  from  either 
of  you.  Even  you,  Edge  worthy  —  much  as  she  thinks 
of  you  —  and  fine  sort  as  I've  no  doubt  you  are,  you're 
doing  Claire  no  good  —  encouraging  her  in  these  queer 
ways. 

TOM 
I  couldn't  change  Claire  if  I  would. 

HARRY 
And  wouldn't  if  you  could. 


36  THE  VERGE 

TOM 

No.  But  you  don't  have  to  worry  about  me.  I'm 
going  away  in  a  day  or  two.  And  I  shall  not  be  back. 

HARRY 

Trouble  with  you  is,  it  makes  a  little  difference 
whether  you're  here  or  away.  Just  the  fact  of  your 
existence  does  encourage  Claire  in  this  —  this  way 
she's  going. 

TOM 

[With  a  smile.]  But  you  wouldn't  ask  me  to  go  so 
far  as  to  stop  my  existence  ?  Though  I  would  do  that 
for  Claire  —  if  it  were  the  way  to  help  her. 

HARRY 
By  Jove,  you  say  that  as  if  you  meant  it. 

TOM 

Do  you  think  I  would  say  anything  about  Claire. 
I  didn't  mean? 

HARRY 

You  think  a  lot  of  her,  don't  you?  [TOM  nods. 
You  don't  mean  —  [A  laugh  letting  him  say  it.]  that 
you're  —  in  love  with  Claire  ? 

TOM 

In  love?  Oh,  that's  much  too  easy.  Certainly  I  do 
love  Claire. 

HARRY 
Well,  you're  a  cool  one! 

TOM 
Let  her  be  herself.    Can't  you  see  she's  troubled? 

HARRY 

Well,  what  is  there  to  trouble  Claire?  Now  I  ask 
you.  It  seems  to  me  she  has  everything. 


THE  VERGE  37 

TOM 

She's  left  so —  open.  Too  exposed.  [As  HARRY 
moves  impatiently.]  Please  don't  be  annoyed  with  me. 
I'm  doing  my  best  at  saying  it.  You  see  Claire  isn't 
hardened  into  one  of  those  forms  she  talks  about.  She's 
too  —  aware.  Always  pulled  toward  what  could  be  — 
tormented  by  the  lost  adventure. 

HARRY 

Well,  there's  danger  in  all  that.  Of  course  there's 
danger,  Tom.  But  you  can't  help  that. 

HARRY 

Claire  was  the  best  fun  a  woman  could  be.  Is  yet  — 
at  times. 

TOM 

Let  her  be  —  at  times.  As  much  as  she  can  and  will. 
She  does  need  that.  Don't  keep  her  from  it  by  making 
her  feel  you're  holding  her  in  it.  Above  all,  don't  try 
to  stop  what  she's  doing  here.  If  she  can  do  it  with 
plants,  perhaps  she  won't  have  to  do  it  with  herself. 

HARRY 
Do  what? 

TOM 

[Low,  after  a  pause.]  Break  up  what  exists.  Open 
the  door  to  destruction  in  the  hope  of  —  a  door  on  the 
far  side  of  destruction. 

HARRY 

Well,  you  give  me  the  willies.     [Moves  around  in  irri 
tation,  troubled.    To  ANTHONY,  who  is  passing  through    -. .    . 
with  a  sprayer.]     Anthony,   have   any   arrangements 
been  made  about  Miss  Claire's  daughter? 

ANTHONY 
I  haven't  heard  of  any  arrangements. 


38  THE  VERGE 

HARRY 

Well,  she'll  have  to  have  some  heat  in  her  room.  We 
can't  all  live  out  here. 

ANTHONY 
Indeed  you  can  not.    It  is  not  good  for  the  plants. 

HARRY 
I'm  going  where  I  can  smoke. 

[Goes  out. 

DICK 

[Lightly,  but  fascinated  by  the  idea.]  You  think  there 
is  a  door  on  the  —  hinter  side  of  destruction  ? 

TOM 

How  can  one  tell  —  where  a  door  may  be.  One  thing 
I  want  to  say  to  you  —  for  it  is  about  you.  [Regards 
DICK  and  not  with  his  usual  impersonal  contemplation.] 
I  don't  think  Claire  should  have  —  any  door  closed  to 
her.  [Pause.]  You  know,  I  think,  what  I  mean.  And 
perhaps  you  can  guess  how  it  hurts  to  say  it.  Whether 
it's  —  mere  escape  within,  —  rather  shameful  escape 
within,  or  the  wild  hope  of  that  door  through,  it's  — 
[Suddenly  all  human.]  Be  good  to  her !  [After  a  difficult 
moment,  smiles.]  Going  away  forever  is  like  dying,  so 
one  can  say  things. 

DICK 
Why  do  you  do  it  —  go  away  forever? 

TOM 
I  haven't  succeeded  here. 

DICK 

But  you've  tried  the  going  away  before. 


THE  VERGE  39 

TOM 

Never  knowing  I  would  not  come  back.  So  that 
wasn't  going  away.  My  hope  is  that  this  will  be  like 
looking  at  life  from  outside  life. 

DICK 
But  then  you'll  not  be  in  it. 

TOM 
I  haven't  been  able  to  look  at  it  while  in  it. 

DICK 
Isn't  it  more  important  to  be  in  it  than  to  look  at  it  ? 

TOM 
Not  what  I  mean  by  look. 

DICK 

It's  hard  for  me  to  conceive  of  —  loving  Claire  and 
going  away  from  her  forever. 

TOM 
Perhaps  it's  harder  to  do  than  to  conceive  of. 

DICK 
Then  why  do  it? 

TOM 
It's  my  only  way  of  keeping  her. 

DICK 
I'm  afraid  I'm  like  Harry  now.  I  don't  get  you. 

TOM 

I  suppose  not.  Your  way  is  different.  [With  calm, 
with  sadness  —  not  with  malice.]  But  I  shall  have  her 
longer.  And  from  deeper. 

DICK 
I  know  that. 


40  THE  VERGE 

TOM 

Though  I  miss  much.  Much.  [The  buzzer.  TOM 
looks  around  to  see  if  anyone  is  coming  to  answer  it,  then 
goes  to  the  phone.]  Yes?  .  .  .  I'll  see  if  I  can  get  to  her. 
[To  DICK.]  Claire's  daughter  has  arrived.  [Looking 
in  the  inner  room  —  returns  to  phone.]  I  don't  see  her. 
[Catching  a  glimpse  of  ANTHONY  off  right]  Oh,  Anthony, 
where's  Miss  Claire?  Her  daughter  has  arrived. 

ANTHONY 

She's  working  at  something  very  important  in  her 
experiments. 

DICK 
But  isn't  her  daughter  one  of  her  experiments? 

ANTHONY 
[After  a  baffled  moment]    Her  daughter  is  finished. 

TOM 

[At  the  phone]  Sorry  —  but  I  can't  get  to  Claire. 
She  appears  to  have  gone  below.  [ANTHONY  closes  the 
trap  door]  I  did  speak  to  Anthony,  but  he  says  that 
Claire  is  working  at  one  of  her  experiments  and  that 
her  daughter  is  finished.  I  don't  know  how  to  make 
her  hear.  —  I  took  the  revolver  back  to  the  house. 
Anyway  you  will  remember  Claire  doesn't  answer  the 
revolver.  I  hate  to  reach  Claire  when  she  doesn't 
want  to  be  reached.  Why  of  course  —  a  daughter  is 
very  important,  but  oh,  that's  too  bad.  [Putting  down 
the  receiver]  He  says  the  girl's  feelings  are  hurt.  Isn't 
that  annoying?  [Gingerly  pounds  on  the  trap  door. 
Then  with  the  other  hand.  Waits,  ANTHONY  has  a  gentle 
smile  for  the  gentle  tapping  —  nods  approval  as  TOM 
returns  to  the  phone]  She  doesn't  come  up.  Indeed 
I  did  —  with  both  fists  —  Sorry. 


THE   VERGE  41 

ANTHONY 

Please,  you  won't  try  again  to  disturb  Miss  Claire, 
will  you? 

DICK 

Her  daughter  is  here,  Anthony.  She  hasn't  seen  her 
daughter  for  a  year. 

ANTHONY 

Well,  if  she  got  along  without  a  mother  for  a  year  — 

[Goes  back  to  his  work. 
DICK 

[Smiling  after  ANTHONY.]  Plants  are  queer.  Perhaps 
it's  safer  to  do  it  with  pencil  —  [Regards  TOM.]  Or 
with  pure  thought.  Things  that  grow  in  the  earth  — 

TOM 
[Nodding]     I  suppose  because  we  grew  in  the  earth. 

DICK 

I'm  always  shocked  to  find  myself  in  agreement  with 
Harry,  but  I  too  am  worried  about  Claire  —  and  this. 

[Looking  at  the  plants. 
TOM 
It's  her  best  chance. 

DICK 

Don't  you  hate  to  go  away  to  India  —  forever  — 
leaving  Claire's  future  uncertain? 

TOM 

You're  cruel  now.  And  you  knew  that  you  were 
being  cruel. 

DICK 

Yes,  I  like  the  lines  of  your  face  when  you  suffer. 

TOM 

The  lines  of  yours  when  you're  causing  suffering  —  I 
don't  like  them. 


42  THE  VERGE 

DICK 

Perhaps  that's  your  limitation. 

TOM 

I  grant  you  it  may  be.  [Tliey  are  silent.]  I  had  an 
odd  feeling  then  that  you  and  I  sat  here  once  before, 
long  ago,  and  that  we  were  plants.  And  you  were  a 
beautiful  plant,  and  I  —  I  was  a  very  ugly  plant.  I 
confess  it  surprised  me  —  finding  myself  so  ugly  a 
plant. 

[A  young  girl  is  seen  outside.  HARRY  gets 
the  door  open  for  her  and  brings 
ELIZABETH  in. 

HARRY 

There's  heat  here.   And  two  of  your  mother's  friends. 

Mr.    Demming  —  Richard    Demming  —  the    artist  — 

and  I  think  you  and  Mr.  Edgeworthy  are  old  friends. 

[ELIZABETH   comes  forward.     She  is  the 

creditable     young     American —  well 

built,  poised,    "  cultivated,"  so  sound 

an  expression   of  the  usual  as  to  be 

able  to  meet  the  world  with  assurance 

—  assurance  which  training  has  made 
rather  graceful.    She  is  about  seventeen 

—  and  mature.    You  feel  solid  things 
behind  her. 

TOM 

I  knew  you  when  you  were  a  baby.  You  used  to  kick 
a  great  deal  then. 

ELIZABETH 

[Laughing,  with  ease.]  And  scream,  I  haven't  a  doubt. 
But  I've  stopped  that.  One  does,  doesn't  one?  And  it 
was  you  who  gave  me  the  idol. 


THE  VERGE  43 

TOM 
Proselyting,  I'm  afraid. 

ELIZABETH 

I  beg  —  ?  Oh  —  yes.  [Laughing  cordially.]  I  see. 
[she  doesn't.]  I  dressed  the  idol  up  in  my  dolls'  clothes. 
They  fitted  perfectly  —  the  idol  was  just  the  size  of  my 
doll  Ailine.  But  mother  didn't  like  the  idol  that  way, 
and  tore  the  clothes  getting  them  off.  [To  HARRY, 
after  looking  around]  Is  mother  here? 

HARRY 

[Crossly]  Yes,  she's  here.  Of  course  she's  here. 
And  she  must  know  you're  here. 

[After  looking  in  the  inner  room  he  goes  to 
the  trap  door  and  makes  a  great  noise. 

ELIZABETH 

Oh  —  please.  Really  —  it  doesn't  make  the  least 
difference. 

HARRY 

Well,  all  I  can  say  is,  your  manners  are  better  than 
your  mother's. 

ELIZABETH 

But  you  see  I  don't  do  anything  interesting,  so  I  have 
to  have  good  manners.  [Lightly,  but  leaving  the  impres 
sion  there  is  a  certain  superiority  in  not  doing  anything 
interesting.  Turning  cordially  to  DICK.]  My  father 
was  an  artist. 

DICK 
Yes,  I  know. 

ELIZABETH 
He  was  a  portrait  painter.   Do  you  do  portraits? 

DICK 

Well,  not  the  kind  people  buy. 


4A  THE  VERGE 

ELIZABETH 
They  bought  father's. 

DICK 
Yes,  I  know  he  did  that  kind. 

HARRY 
[Still  irritated.]    Why,  you  don't  do  portraits. 

DICK 

I  did  one  of  you  the  other  day.  You  thought  it  was 
a  milk-can. 

ELIZABETH 

[Laughing  delightedly.]  No?  Not  really?  Did  you 
think  —  How  could  you  think  —  [As  HARRY  does  not 
join  the  laugh.}  Oh,  I  beg  your  pardon.  I  —  Does 
mother  grow  beautiful  roses  now? 

HARRY 
No,  she  does  not. 

[The  trap  door  begins  to  move.    CLAIRE'S 
head  appears.] 

ELIZABETH 
Mother!     It's  been  so  long  — 

[She  tries  to  overcome  the  difficulties  and 
embrace  her  mother. 

CLAIRE 

[Protecting  a  box  she  has.]  Careful,  Elizabeth.  We 
mustn't  upset  the  lice. 

ELIZABETH 

[Retreating.]  Lice?  [But  quickly  equal  even  to  lice.] 
Oh  —  yes.  You  take  it  —  them  —  off  plants,  don't 
you? 

CLAIRE 

I'm  putting  them  on  certain  plants. 


THE  VERGE  45 

ELIZABETH 
[Weakly.]     Oh,  I  thought  you  took  them  off. 

CLAIRE 
[Calling.]     Anthony!     [He  comes.]    The  lice. 

[He  takes  them  from  her. 
[CLAIRE,  who  has  not  fully  ascended,  looks 
at  ELIZABETH,  hesitates,  then  suddenly 
starts  back  down  the  stairs. 

HARRY 

[Outraged.]     Claire!     [Slowly  she  re-ascends  —  sits  on 

the  top  step.]     [After  a  long  pause  in 

which  he   has    waited  for  CLAIRE  to 

open  a  conversation  with  her  daughter.] 

Well,  and  what  have  you  been  doing  at  school  all  this 

time? 

ELIZABETH 
Oh  —  studying. 

CLAIRE 
Studying  what? 

ELIZABETH 
Why  —  the  things  one  studies,  mother. 

CLAIRE 
Oh!   The  things  one  studies. 

[Looks  down  cellar  again. 

DICK 

[After  another  wait.]    And  what  have  you  been  doing 
besides  studying? 

ELIZABETH 

Oh  —  the  things  one  does.    Tennis  and  skating  and 
dancing  and  — 

CLAIRE 
The  things  one  does. 


46  THE  VERGE 

ELIZABETH 

Yes.  All  the  things.  The  —  the  things  one  does. 
Though  I  haven't  been  in  school  these  last  few  months, 
you  know.  Miss  Lane  took  us  to  Europe. 

TOM 
And  how  did  you  like  Europe? 

ELIZABETH 

[Capably.]  Oh,  I  thought  it  was  awfully  amusing. 
All  the  firls  were  quite  mad  about  Europe.  Of  course, 
I'm  glad  I'm  an  American. 

CLAIRE 
Why? 

ELIZABETH 

[Laughing.]  Why  —  mother!  Of  course  one  is  glad 
one  is  an  American.  All  the  girls  — 

CLAIRE 
[Turning  away.]     O — h! 

[A  moan  under  the  breath. 

ELIZABETH 
Why,  mother  —  aren't  you  well? 

HARRY 

Your  mother  has  been  working  pretty  hard  at  all 
this. 

ELIZABETH 

Oh,  I  do  so  want  to  know  all  about  it  ?  Perhaps  I  can 
help  you!  I  think  it's  just  awfully  amusing  that  you're 
doing  something.  One  does  now-a-days,  doesn't  one? 
—  if  you  know  what  I  mean.  It  was  the  war,  wasn't  it, 
made  it  the  thing  to  do  something. 


THE  VERGE  47 

DICK 

[Slyly.]  And  you  thought,  Claire,  that  the  war  was 
lost. 

ELIZABETH 

The  war?  Lost!  [Her  capable  laugh.]  Fancy  our 
losing  a  war!  Miss  Lane  says  we  should  give  thanks. 
She  says  we  should  each  do  some  expressive  thing  — you 
know  what  I  mean?  And  that  this  is  the  keynote  of  the 
age.  Of  course,  one's  own  kind  of  thing.  Like  mother 
—  growing  flowers. 

CLAIRE 
You  think  that  is  one's  own  kind  of  thing? 

ELIZABETH 

.-  Why  of  course  I  do,  mother.  And  so  does  Miss  Lane. 
All  the  girls  — 

CLAIRE 
[Shaking  her  head  as  if  to  get  something  out.]     S — hoo. 

ELIZABETH 
What  is  it,  mother? 

CLAIRE 
A  fly  shut  up  in  my  ear  —  "  All  the  girls!" 

ELIZABETH 

[Laughing.]  Mother  was  always  so  amusing.  So 
different  —  if  you  know  what  I  mean.  Vacations  I've 
lived  mostly  with  Aunt  Adelaide,  you  know. 

CLAIRE 
My  sister  who  is  fitted  to  rear  children. 

HARRY 
Well,  somebody  has  to  do  it. 


48  THE  VERGE 

ELIZABETH 

And  I  do  love  Aunt  Adelaide,  but  I  think  it's  going 
to  be  awfully  amusing  to  be  around  with  mother  now 
—  and  help  her  with  her  work.  Help  do  some  useful 
beautiful  thing. 

CLAIRE 
I  am  not  doing  any  useful  beautiful  thing. 

ELIZABETH 

Oh,  but  you  are,  mother.  Of  course  you  are.  Miss 
Lane  says  so.  She  says  it  is  your  splendid  heritage 
gives  you  this  impulse  to  do  a  beautiful  thing  for  the 
race.  She  says  you  are  doing  in  your  way  what  the 
great  teachers  and  preachers  behind  you  did  in  theirs. 

CLAIRE 

[Who  is  good  for  little  more.]  Well  all  I  can  say  is, 
Miss  Lane  is  stung. 

ELIZABETH 

Mother!  What  a  thing  to  say  of  Miss  Lane.  [Fro:n 
this  slipping  into  more  of  a  little  girl  manner.]  Oh,  she 
gave  me  a  speil  one  day  about  living  up  to  the  men 
I  come  from. 

[CLAIRE  turns  and  regards  her  daughter. 

CLAIRE 
You'll  do  it,  Elizabeth. 

ELIZABETH 

Well,  I  don't  know.  Quite  a  job,  I'll  say.  Of  course, 
I'd  have  to  do  it  in  my  way.  I'm  not  going  to  teach  or 
preach  or  be  a  stuffy  person.  But  now  that  —  [She 
here  becomes  the  product  of  a  superior  school.]  values 
have  shifted  and  such  sensitive  new  things  have  been 
liberated  in  the  world  — 


THE  VERGE  49 

CLAIRE 
[Low.]     Don't  use  those  words. 

ELIZABETH 
Why  —  why  not? 

CLAIRE 
Because  you  don't  know  what  they  mean. 

ELIZABETH 
Why  of  course  I  know  what  they  mean! 

CLAIRE 
[Turning  away.]     You're  —  stepping  on  the  plants. 

HARRY 

[Hastily.]     Your  mother  has  been  working  awfully 
hard  at  all  this. 

ELIZABETH 

Well,  now  that  I'm  here  you'll  let  me  help  you,  won't 
you,  mother? 

CLAIRE 
[Trying  for  control.]     You  needn't  —  bother. 

ELIZABETH 
But  I  want  to.    Help  add  to  the  wealth  of  the  world. 

CLAIRE 

Will  you  please  get  it  out  of  your  head  that  I  am 
adding  to  the  wealth  of  the  world! 

ELIZABETH 

But,  mother  —  of  course  you  are.   To  produce  a  new 
and  better  kind  of  plants  — 

CLAIRE 

They  may  be  new.    I  don't  give  a  damn  whether 
they're  better. 


SO  THE  VERGE 

ELIZABETH 
But  —  but  what  are  they  then? 

CLAIRE 
[As  if  choked  out  of  her.]     They're  different. 

ELIZABETH 

[Thinks  a  minute,  then  laughs  triumphantly.}  But 
what's  the  use  of  making  them  different  if  they  aren't 
better? 

HARRY 

A  good  square  question,  Claire.  Why  don't  you 
answer  it  ? 

CLAIRE 
I  don't  have  to  answer  it. 

HARRY 

Why  not  give  the  girl  a  fair  show?  You  never  have, 
you  know.  Since  she's  interested,  why  not  tell  her 
what  it  is  you're  doing? 

CLAIRE 
She  is  not  interested. 

ELIZABETH 

But  I  am,  mother.  Indeed  I  am.  I  do  want  awfully 
to  understand  what  you  are  doing,  and  help  you. 

CLAIRE 
You  can't  help  me,  Elizabeth. 

HARRY 

Why  not  let  her  try? 

CLAIRE 

Why  do  you  ask  me  to  do  that?  This  is  my  own 
thing.  Why  do  you  make  me  feel  I  should  —  [Goes  to 
ELIZABETH.]  I  will  be  good  to  you,  Elizabeth.  We'll 


THE   VERGE  51 

go  around  together.  I  haven't  done  it,  but  —  you'll 
see.  We'll  do  gay  things.  I'll  have  a  lot  of  beaus  around 
for  you.  Anything  else.  Not  —  this  is  —  Not  this. 

ELIZABETH 

As  you  like,  mother,  of  course.    I  just  would  have 

been  so  glad  to  —  to  share  the  thing  that  interests  you. 

[Hurt  borne  with  good-breeding  and  a  smile. 

HARRY 
Claire! 

[Which  says,  "  How  can  you?  " 

CLAIRE 
[Who  is  looking  at  ELIZABETH.]     Yes,  I  will  try. 

TOM 
I  don't  think  so.    As  Claire  says — anything  else. 

ELIZABETH 
Why  of  course  —  I  don't  at  all  want  to  intrude. 

HARRY 

It'll  do  Claire  good  to  take  someone  in.  To  get  down 
to  brass  tacks  and  actually  say  what  she's  driving  at. 

CLAIRE 

Oh  —  Harry.  But  yes  —  I  will  try.  [Does  try,  but 
no  words  come.  Laughs.]  When  you  come  to  say  it 
it's  not  —  One  would  rather  not  nail  it  to  a  cross  of 
words — [Laughs  again.]  with  brass  tacks. 

HARRY 

[Affectionately]  But  I  want  to  see  you  put  things 
into  words,  Claire,  and  realize  just  where  you  are. 

CLAIRE 
[Oddly.]    You  think  that's  a  —  good  idea? 


52  THE  VERGE 

ELIZABETH 

[In  her  manner  of  holding  the  world  capably  in  her 
hands.]  Now  let's  talk  of  something  else.  I  hadn't  the 
least  idea  of  making  mother  feel  badly. 

CLAIRE 

[Desperately]  No,  we'll  go  on.  Though  I  don't 
know  —  where  we'll  end.  I  can't  answer  for  that. 
These  plants  —  [Beginning  flounderingly .]  perhaps 
they  are  less  beautiful  —  less  sound  —  than  the  plants 
from  which  they  diverged.  But  they  have  found  — 
otherness.  [Laughs  a  little  shrilly]  If  you  know  — 
what  I  mean. 

TOM 

Claire  —  stop  this!     [To  HARRY.]    This  is  wrong. 

CLAIRE 

[Excitedly]  No;  I'm  going  on.  They  have  been 
shocked  out  of  what  they  were  —  into  something  they 
were  not ;  they've  broken  from  the  forms  in  which  they 
found  themselves.  They  are  alien.  Outside.  That's  it, 
outside ;  if  you  —  know  what  I  mean  ? 

ELIZABETH 

[Not  shocked  from  what  she  is]  But  of  course,  the 
object  of  it  all  is  to  make  them  better  plants.  Other 
wise,  what  would  be  the  sense  in  doing  it? 

CLAIRE 

[Not  reached  by  ELIZABETH.]  Out  there  —  [Giving  it 
with  her  hands]  lies  all  that's  not  been  touched  —  lies 
life  that  waits.  Back  here  —  the  old  pattern,  done 
again,  again  and  again.  So  long  done  it  doesn't  even 
know  itself  for  a  pattern  —  in  immensity.  But  this  — 
has  invaded.  Crept  a  little  way  into  —  what  wasn't. 
Strange  lines  in  life  unused.  And  when  you  make  a 


THE   VERGE  53 

pattern  new  you  know  a  pattern's  made  with  life.  And 
then  you  know  that  anything  may  be  —  if  only  you 
know  how  to  reach  it. 

[This  has  taken  form,  not  easily,  but  with 

great    struggle    between    feeling    and 

words. 

HARRY 

[Cordially.]  Now  I  begin  to  get  you,  Claire.  I  never 
knew  before  why  you  called  it  the  Edge  Vine. 

CLAIRE 

I  should  destroy  the  Edge  Vine.  It  isn't  —  over  the 
edge.  It's  running  back  to  —  "  all  the  girls."  It's  a 
little  afraid  of  Miss  Lane.  [Looking  somberly  at  it.} 
You  are  out,  but  you  are  not  alive. 

ELIZABETH 
Why  it  looks  all  right,  mother. 

CLAIRE 

Didn't  carry  life  with  it  from  the  life  it  left.  Dick  — 
you  know  what  I  mean.  At  least  you  ought  to.  [Her 
ruthless  way  of  not  letting  anyone's  feelings  stand  in  the 
way  of  truth.}  Then  destroy  it  for  me !  It's  hard  to  do 
it  —  with  the  hands  that  made  it. 

DICK 
But  what's  the  point  in  destroying  it,  Claire? 

CLAIRE 
[Impatiently.}     I've  told  you.    It  cannot  create. 

DICK 

But  you  say  you  can  go  on  producing  it,  and  it's 
interesting  in  form. 


54  THE  VERGE 

CLAIRE 

And  you  think  I'll  stop  with  that?  Be  shut  in  — 
with  different  life  —  that  can't  creep  on?  [After  trying 
to  put  destroying  hands  upon  it,}  It's  hard  to  —  get 
past  what  we've  done.  Our  own  dead  things  —  block 
the  way. 

TOM 

But  you're  doing  it  this  next  time,  Claire.  [Nodding 
to  the  inner  room.]  In  there! 

CLAIRE 
[Turning  to  that  room}     I'm  not  sure. 

TOM 

But  you  told  me  Breath  of  Life  has  already  repro 
duced  itself.  Doesn't  that  show  it  has  brought  life  from 
the  life  it  left? 

CLAIRE 

But  timidly,  rather  —  wistfully.  A  little  homesick. 
If  it  is  less  sure  this  time,  then  it  is  going  back  to  — 
Miss  Lane.  But  if  the  pattern's  clearer  now,  then  it  has 
made  friends  life  that  waits.  I'll  know  tomorrow. 

ELIZABETH 
You  know,  something  tells  me  this  is  wrong.  ' 

CLAIRE 
The  hymn-singing  ancestors  are  tuning  up. 

ELIZABETH 
I  don't  know  what  you  mean  by  that  mother,  but  — 

CLAIRE 

But  we  will  now  sing,  "  Nearer  my  God  to  Thee; 
Nearer  to  —  " 


THE  VERGE  55 

ELIZABETH 

[Laughingly  breaking  in.]  Well,  I  don't  care.  Of 
course  you  can  make  fun  of  me,  but  something  does  tell 
me  this  is  wrong.  To  do  what  —  what  — 

DICK 
What  God  did? 

ELIZABETH 

Well  —  yes.  Unless  you  do  it  to  make  them  better 
—  to  do  it  just  to  do  it  —  that  doesn't  seem  right  to  me. 

CLAIRE 

[Roughly.]  "Right  to  you!"  And  that's  all  you 
know  of  adventure  —  and  of  anguish.  Do  you  know 
it  is  you  —  world  of  which  you're  so  true  a  flower  — 
makes  me  have  to  leave?  You're  there  to  hold  the  door 
shut!  Because  you're  young  and  of  a  gayer  world,  you 
think  I  can't  see  them  —  those  old  men  ?  Do  you  know 
why  you're  so  sure  of  yourself?  Because  you  can't  feel. 
Can't  feel  —  the  limitless  —  out  there  —  a  sea  just 
over  the  hill.  I  will  not  stay  with  you\  ^ffiuries  her 
hands  in  the  earth  around  the  Edge  Vine.  But  suddenly 
steps  back  from  it  as  she  had  from  ELIZABETH.]  And  I 
will  not  stay  with  you! 

[Grasps  it  as  we  grasp  what  we  would  kill, 
is  trying  to  pull  it  up.  They  all  step 
forward  in  horror.  ANTHONY  is 
drawn  in  by  this  harm  to  the  plant. 

ANTHONY 
Miss  Claire!   Miss  Claire!   The  work  of  years! 

CLAIRE 

May  only  make  a  prison!  [Struggling  with  HARRY, 
who  is  trying  to  stop  her.]  You  think  I  too  will  die  on 
the  edge?  [She  has  thrown  him  away,  is  now  struggling 
with  the  vine.]  Why  did  I  make  you  ?  To  get  past  you ! 


56  THE  VERGE 

[As  she  twists  it.]    Oh  yes,  I  know  you  have  thorns! 
The  Edge  Vine  should  have  thorns. 

[With  a  long  tremendous  pull  for  deep 
roots,  she  has  it  up.  As  she  holds  the 
torn  roots. 

Oh,  I  have  loved  you  so!  You  took  me  where  I 
hadn't  been. 

ELIZABETH 

[Who  has  been  looking  on  with  a  certain  practical 
horror.]  Well,  I'd  say  it  would  be  better  not  to  go 
there! 

CLAIRE 
Now  I  know  what  you  are  for! 

[Flings  her  arm  back  to  strike  ELIZABETH 
with  the  Edge  Vine. 

HARRY 
[Wresting  it  from  her.]     Claire!    Are  you  mad? 

CLAIRE 

No,  I'm  not  mad.  I'm  —  too  sane!  [Pointing  to 
ELIZABETH  —  and  the  words  come  from  mighty  roots.] 
To  think  that  object  ever  moved  my  belly  and  sucked 
my  breast! 

[ELIZABETH  hides  her  face  as  if  struck. 

HARRY 

[Going  to  ELIZABETH,  turning  to  CLAIRE.]  This  is 
atrocious!  You're  cruel. 

[He  leads  ELIZABETH  to  the  door  and  out. 
After  an  irresolute  moment  in  which 
he  looks  from  CLAIRE  to  TOM,  DICK 
follows.  ANTHONY  cannot  bear  to  go. 
He  stoops  to  take  the  Edge  Vine  from 
the  floor.  CLAIRE'S  gesture  stops  him. 
He  goes  into  the  inner  room. 


THE  VERGE  57 

CLAIRE 

[Kicking  the  Edge  Vine  out  of  her  way,  drawing  deep 
breath,  smiling.]  O — h.  How  good  I  feel!  Light! 
[A  movement  as  if  she  could  fly.]  Read  me  something, 
Tom  dear.  Or  say  something  pleasant  —  about  God. 
But  be  very  careful  what  you  say  about  him !  I  have  a 
feeling  —  he's  not  far  off. 

dbJMjMto 


[CURTAIN] 


ACT  TWO 

Late  afternoon  of  the  following  day.  CLAIRE  is  alone 
in  ike  tower  —  a  tower  which  is  thought  to  be  round  but  does 
not  complete  the  circle.  The  back  is  curved,  then  jagged 
lines  break  from  that,  and  the  front  is  a  queer  bulging 
window  —  in  a  curve  that  leans.  The  whole  structure  is 
as  if  given  a  twist  by  some  terrific  force  —  like  something 
wrung.  It  is  lighted  by  an  old-fashioned  watchman's  lan 
tern  hanging  from  the  ceiling;  the  innumerable  pricks  and 
slits  in  the  metal  throw  a  marvelous  pattern  on  the  curved 
wall  —  like  some  masonry  that  hasn't  been. 

There  are  no  windows  at  back,  and  there  is  no  door 
save  an  opening  in  the  floor.  The  delicately  distorted  rail 
of  a  spiral  staircase^  winds  up  from  below.  CLAIRE  is  seen 
through  the  huge  ominous  window  as  if  shut  into  the 
tower.  She  is  lying  on  a  seat  at  the  back  looking  at  a  book 
of  drawings.  To  do  this  she  has  left  the  door  of  her  lantern 
a  little  open  —  and  her  own  face  is  drawing  clearly  seen. 

A  door  is  heard  opening  below;  laughing  voices,  CLAIRE 
listens,  not  pleased. 

ADELAIDE 

[Voice  coming  up]  Dear  —  dear,  why  do  they  make 
such  twisting  steps. 

HARRY 

Take  your  time,  most  up  now.  [HARRY'S  head 
appears,  he  looks  back.]  Making  it  all  right? 

ADELAIDE 

I  can't  tell  yet  —  [Laughingly]  No,  I  don't  think 
so. 


THE   VERGE  59 

HARRY 

[Reaching  back  a  hand  for  her.]  The  last  lap  —  is 
the  bad  lap. 

[ADELAIDE  is  up,  and  occupied  with  getting 
her  breath. 

HARRY 

Since  you  wouldn't  come  down,  Claire,  we  thought 
we'd  come  up. 

ADELAIDE 

[As  CLAIRE  does  not  greet  her.]  I'm  sorry  to  intrude, 
but  I  have  to  see  you,  Claire.  There  are  things  to  be  — 
arranged.  [CLAIRE  volunteering  nothing  about  arrange 
ments,  ADELAIDE  surveys  the  tower.  An  unsympathetic 
eye  goes  from  the  curves  to  the  lines  which  diverge.  Then 
she  looks  from  the  window.]  Well,  at  least  you  have  a 
view. 

HARRY 

This  the  first  time  you've  been  up  here? 

ADELAIDE 

Yes,  in  the  five  years  you've  had  the  house  I  was 
never  asked  up  here  before. 

CLAIRE 
[Amiably  enough.]    You  weren't  asked  up  here  now. 

ADELAIDE 
Harry  asked  me. 

CLAIRE 

It  isn't  Harry's  tower.  But  never  mind  —  since  you 
don't  like  it  —  it's  all  right. 

ADELAIDE 

[Her  eyes  again  rebuking  the  irregularities  of  the 
tower.]  No,  I  confess  I  do  not  care  for  it.  A  round 
tower  should  go  on  being  round 


60  THE  VERGE 

HARRY 

Claire  calls  this  the  thwarted  tower.  She  bought  the 
house  because  of  it.  [Going  over  and  sitting  by  her,  his 
hand  on  her  ankle.]  Didn't  you,  old  girl?  She  says 
she'd  like  to  have  known  the  architect. 

ADELAIDE 

Probably  a  tiresome  person  too  incompetent  to  make 
a  perfect  tower. 

CLAIRE 
Well,  now  he's  disposed  of,  what  next? 

ADELAIDE 

[Sitting  down  in  a  manner  of  capably  opening  a  con 
ference.]  Next,  Elizabeth,  and  you,  Claire.  Just  what 
is  the  matter  with  Elizabeth? 

CLAIRE 

[Whose  voice  is  cool,  even,  as  if  herself  is  not  really 
engaged  by  this.]  Nothing  is  the  matter  with  her.  She 
is  a  tower  that  is  a  tower. 

ADELAIDE 
Well,  is  that  anything  against  her? 

CLAIRE 

She's  just  like  one  of  her  father's  portraits.  They 
never  interested  me.  Nor  does  she. 

[Looks  at  the  drawings  which  do  interest  her. 

ADELAIDE 

A  mother  cannot  cast  off  her  own  child  simply 
because  she  does  not  interest  her! 

CLAIRE 

[An  instant  raising  cool  eyes  to  ADELAIDE.]  Why 
can't  she? 


THE  VERGE  61 

ADELAIDE 
Because  it  would  be  monstrous! 

CLAIRE 
And  why  can't  she  be  monstrous  —  if  she  has  to  be? 

ADELAIDE 

You  don't  have  to  be.  That's  where  I'm  out  of 
patience  with  you,  Claire.  You  are  really  a  particularly 
intelligent,  competent  person,  and  it's  time  for  you  to 
call  a  halt  to  this  nonsense  and  be  the  woman  you  were 
meant  to  be! 

CLAIRE 

[Holding  the  book  up  to  see  another  way.]  What  inside 
dope  have  you  on  what  I  was  meant  to  be? 

ADELAIDE 
I  know  what  you  came  from. 

CLAIRE 

Well,  isn't  it  about  time  somebody  got  loose  from 
that  ?  What  I  came  from  made  you,  so  — 

ADELAIDE 
[Stiffly.]     I  see. 

CLAIRE 

So  —  you  being  such  a  tower  of  strength,  why  need 
I  too  be  imprisoned  in  what  I  came  from? 

ADELAIDE 

It  isn't  being  imprisoned.  Right  there  is  where  you 
make  your  mistake,  Claire.  Who's  in  a  tower  —  in  an 
unsuccessful  tower?  Not  I.  I  go  about  in  the  world  — 
free,  busy,  happy.  Among  people.  I  have  no  time  to 
think  of  myself. 

CLAIRE 
No. 


62  THE  VERGE 

ADELAIDE 

No.  My  family.  The  things  that  interest  them; 
from  morning  till  night  it's 

CLAIRE 

Yes,  I  know  you  have  a  large  family,  Adelaide;  five, 
and  Elizabeth  makes  six. 

ADELAIDE 

We'll  speak  of  Elizabeth  later.  But  if  you  would  just 
get  out  of  yourself  and  enter  into  other  people's  lives  — 

CLAIRE 

Then  I  would  become  just  like  you.  And  we  should 
all  be  just  alike  in  order  to  assure  one  another  that 
we're  all  just  right.  But  since  you  and  Harry  and 
Elizabeth  and  ten  million  other  people  bolster  each 
other  up,  why  do  you  especially  need  me? 

ADELAIDE 

[Not  unkindly.]  We  don't  need  you  as  much  as 
you  need  us. 

CLAIRE 

[A  wry  face.]    I  never  liked  what  I  needed. 

HARRY 

I  am  convinced  I  am  the  worst  thing  in  the  world  for 
you,  Claire. 

CLAIRE 

[With  a  smile  for  his  tactics,  but  shaking  her  head.] 
I'm  afraid  you're  not.  I  don't  know  —  perhaps  you 
are. 

ADELAIDE 

Well,  what  is  it  you  want,  Claire? 

CLAIRE 
[Simply.]      You  wouldn't  know  if  I  told  you. 


THE  VERGE  63 

ADELAIDE 
That's  rather  arrogant. 

HARRY 

Yes,  take  a  chance,  Claire.  I  have  been  known  to  get 
an  idea  —  and  Adelaide  quite  frequently  gets  one. 

CLAIRE 

[The  first  resentment  she  has  shown.]  You  two  feel 
very  superior,  don't  you? 

ADELAIDE 
I  don't  think  we  are  the  ones  who  are  feeling  superior. 

CLAIRE 

Oh,  yes,  you  are.  Very  superior  to  what  you  think 
is  my  feeling  of  superiority,  comparing  my  —  isolation 
with  your  "  heart  of  humanity."  Soon  we  will  speak 
of  the  beauty  of  common  experiences,  of  the  —  Oh, 
I  could  say  it  all  before  we  come  to  it. 

HARRY 
Adelaide  came  up  here  to  help  you,  Claire. 

CLAIRE 

Adelaide  came  up  here  to  lock  me  in.  Well,  she  can't 
do  it. 

ADELAIDE 

[Gently.]  But  can't  you  see  that  one  may  do  that  to 
one's  self? 

CLAIRE 

[Thinks  of  this,  looks  suddenly  tired  —  then  smiles.] 
Well,  at  least  I've  changed  the  keys. 

HARRY 

"  Locked  in."  Bunkum.  Get  that  out  of  your  head. 
Claire.  Who's  locked  in?  Nobody  that  I  know  of, 
We're  all  free  Americans.  Free  as  air. 


I 
64  THE  VERGE 

ADELAIDE 

I  wish  you'd  come  and  hear  one  of  Dr.  Morley's 
sermons,  Claire.  You're  very  old-fashioned  if  you 
think  sermons  are  what  they  used  to  be. 

CLAIRE 

[With  interest.]  And  do  they  still  sing  "  Nearer  my 
God  to  Thee?" 

ADELAIDE 

They  do,  and  a  noble  old  hymn  it  is.  It  would  do 
you  no  harm  at  all  to  sing  it. 

CLAIRE 

[Eagerly.]  Sing  it  to  me,  Adelaide.  I'd  like  to  hear 
you  sing  it. 

ADELAIDE 
It  would  be  sacrilege  to  sing  it  to  you  in  this  mood. 

CLAIRE 

[Falling  back.]  Oh,  I  don't  know.  I'm  not  so  sure 
God  would  agree  with  you.  That  would  be  one  on  you, 
wouldn't  it? 

ADELAIDE 
It's  easy  to  feel  one's  self  set  apart! 

CLAIRE 
No,  it  isn't. 

ADELAIDE 

[Beginning  anew.]  It's  a  new  age,  Claire.^  Spiritual 
values  — 

CLAIRE 

Spiritual  values!  [In  her  brooding  way.]  So  you 
have  pulled  that  up.  [With  cunning.]  Don't  think 
I  don't  know  what  it  is  you  do. 


THE  VERGE  65 

ADELAIDE 

Well,  what  do  I  do?  I'm  sure  I  have  no  idea  what 
you're  talking  about. 

HARRY 

[Affectionately,  as  CLAIRE  is  looking  with  intentness  at 
what  he  does  not  see.]  What  does  she  do,  Claire? 

CLAIRE 

It's  rather  clever,  what  she  does.  Snatching  the 
phrase  —  [A  movement  as  if  pulling  something  up.] 
standing  it  up  between  her  and  —  the  life  that's  there. 
And  by  saying  it  enough.  —  "  We  have  life!  We  have 
life!  We  have  life!  "  Very  good  come-back  at  one  who 
would  really  be  —  "  Just  so!  We  are  that.  Right  this 
way,  please  — "  That,  I  suppose,  is  what  we  mean  by 
needing  each  other.  All  join  in  the  chorus,  "  This  is  it! 
This  is  it!  This  is  it!  "  And  anyone  who  won't  join  is 
to  be  —  visited  by  relatives.  [Regarding  ADELAIDE 
with  curiosity.]  Do  you  really  think  that  anything  is 
going  on  in  you? 

ADELAIDE 

[Stiffly.]  I  am  not  one  to  hold  myself  up  as  a  perfect 
example  of  what  the  human  race  may  be. 

CLAIRE 
[Brightly.]     Well,  that's  good. 

HARRY 
Claire! 

CLAIRE 

Humility's  a  real  thing  —  not  just  a  fine  name  for 
laziness. 

HARRY 

Well  Lord  A'mighty,  you  can't  call  Adelaide  lazy. 


66  THE  VERGE 

CLAIRE 

She  stays  in  one  place  because  she  hasn't  the  energy 
to  go  anywhere  else. 

ADELAIDE 

[As  if  the  last  word  in  absurdity  has  been  said.]  I 
haven't  energy? 

CLAIRE 

[Mildly.]  You  haven't  any  energy  at  all,  Adelaide. 
That's  why  you  keep  so  busy. 

ADELAIDE 

Well  —  Claire's  nerves  are  in  a  worse  state  than  I  had 
realized. 

CLAIRE 
So  perhaps  we'd  better  look  at  Blake's  drawings. 

[Takes  up  the  book. 
ADELAIDE 

It  would  be  all  right  for  me  to  look  at  Blake's  draw 
ings.  You'd  better  look  at  the  Sistine  Madonna. 
[Affectionately,  after  she  has  watched  CLAIRE'S  face  a 
moment.]  What  is  it,  Claire?  Why  do  you  shut  your 
self  out  from  us? 

CLAIRE 

I  told  you.  Because  I  do  not  want  to  be  shut  in  with 
you. 

ADELAIDE 
All  of  this  is  not  very  pleasant  for  Harry. 

HARRY 
I  want  Claire  to  be  gay. 

CLAIRE 

Funny  —  you  should  want  that.  [Speaks  unwillingly, 
a  curious,  wistful  unwillingness.]  Did  you  ever  say  a 
preposterous  thing,  then  go  trailing  after  the  thing 
you've  said  and  find  it  wasn't  so  preposterous?  Here 


THE   VERGE  67 

is  the  circle  we  are  in.  [Describes  a  big  circle.]  Being 
gay.  It  shoots  little  darts  through  the  circle,  and  a 
minute  later  —  gayety  all  gone,  and  you  looking 
through  that  little  hole  the  gayety  left. 

ADELAIDE 

[Going  to  her,  as  she  is  still  looking  through  that  little 
hole.}  Claire,  dear,  I  wish  I  could  make  you  feel  how 
much  I  care  for  you.  [Simply,  with  real  feeling.]  You 
can  call  me  all  the  names  you  like  —  dull,  common 
place,  lazy  —  that  is  a  new  idea,  I  confess,  but  the  rest 
of  our  family's  gone  now,  and  the  love  that  used  to  be 
there  between  us  all  —  the  only  place  for  it  now  is 
between  you  and  me.  You  were  so  much  loved,  Claire. 
You  oughtn't  to  try  and  get  away  from  a  world  in 
which  you  are  so  much  loved.  [To  HARRY.]  Mother, 

—  Father  —  all  of  us,  always  loved  Claire  best.    We 
always  loved  Claire's  queer  gayety.    Now  you've  got 
to  hand  it  to  us  for  that,  as  the  children  say. 

CLAIRE 

[Moved,  but  eyes  shining  with  a  queer  bright  loneliness.] 
But  never  one  of  you  —  once  —  looked  with  me  through 
the  little  pricks  the  gayety  made  —  never  one  of  you 

—  once,  looked  with  me  at  the  queer  light  that  came 
in  through  the  pricks. 

ADELAIDE 

And  can't  you  see,  dear,  that  it's  better  for  us  we 
didn't?  And  that  it  would  be  better  for  you  now  if  you 
would  just  resolutely  look  somewhere  else?  You  must 
see  yourself  that  you  haven't  the  poise  of  people  who 
are  held  —  well,  within  the  circle,  if  you  choose  to  put 
it  that  way.  There's  something  about  being  in  that 
main  body,  having  one's  roots  in  the  big  common  experi 
ences,  gives  a  calm  which  you  have  missed.  That's 
why  I  want  you  to  take  Elizabeth,  forget  yourself,  and 


68  THE  VERGE 

CLAIRE 

I  do  want  calm.  But  mine  would  have  to  be  a  calm 
I  —  worked  my  way  to.  A  calm  all  prepared  for  me  — 
would  stink. 

ADELAIDE 

[Less  sympathetically.]  I  know  you  have  to  be  your 
self,  Claire.  But  I  don't  admit  you  have  a  right  to  hurt 
other  people. 

HARRY 
I  think  Claire  and  I  had  better  take  a  nice  long  trip. 

ADELAIDE 
Now  why  don't  you? 

CLAIRE 
I  am  taking  a  trip. 

ADELAIDE 

Well,  Harry  isn't,  and  he'd  like  to  go  and  wants  you 
to  go  with  him.  Go  to  Paris  and  get  yourself  some 
awfully  good-looking  clothes  —  and  have  one  grand 
fling  at  the  gay  world.  You  really  love  that,  Claire, 
and  you've  been  awfully  dull  lately.  I  think  that's  the 
whole  trouble. 

HARRY 
I  think  so  too. 

ADELAIDE 
This  sober  business  of  growing  plants  — 

CLAIRE 
Not  sober  —  it's  mad. 

ADELAIDE 
All  the  more  reason  for  quitting  it. 

CLAIRE 
But  madness  that  is  the  only  chance  for  sanity. 


THE  VERGE  69 

ADELAIDE 
Come,  come,  now  —  lets  not  juggle  words. 

CLAIRE 

[Springing  up.]  How  dare  you  say  that  to  me, 
Adelaide.  You  who  are  such  a  liar  and  thief  and  whore 
with  words! 

ADELAIDE 
[Facing  her,  furious.]     How  dare  you  — 

HARRY 

Of  course  not,  Claire.  You  have  the  most  prepos 
terous  way  of  using  words. 

CLAIRE 
I  respect  words. 

ADELAIDE 

Well,  you'll  please  respect  me  enough  not  to  dare  use 
certain  words  to  me! 

CLAIRE 

Yes,  I  do  dare.  I'm  tired  of  what  you  do  —  you  and 
all  of  you.  Life  —  experience  —  values  —  calm  —  sen 
sitive  words  which  raise  their  heads  as  indications. 
And  you  pull  them  up  —  to  decorate  your  stagnant 
little  minds  —  and  think  that  makes  you  —  And  because 
you  have  pulled  that  word  from  the  life  that  grew  it 
you  won't  let  one  who's  honest,  and  aware,  and 
troubled,  try  to  reach  through  to  —  to  what  she 
doesn't  know  is  there.  [She  is  moved,  excited,  as  if  a 
cruel  thing  has  been  done.]  Why  did  you  come  up  here? 

ADELAIDE 

To  try  and  help  you.  But  I  begin  to  fear  I  can't  do 
it.  It's  pretty  egotistical  to  claim  that  what  so  many 
people  are,  is  wrong. 


70  THE  VERGE 

[CLAIRE,  after  looking  intently  at  ADE 
LAIDE,  slowly,  smiling  a  little,  de 
scribes  a  circle.  With  deftly  used 
hands  makes  a  quick,  vicious  break 
in  tlw  circle  which  is  there  in  the  air. 

HARRY 

[Going  to  her,  taking  her  hands.]  It's  getting  close 
to  dinner  time.  You  were  thinking  of  something  else, 
Claire,  when  I  told  you  Charlie  Emmons  was  coming 
to  dinner  tonight.  [Answering  her  look.]  Sure  —  he  is 
a  neurologist,  and  I  want  him  to  see  you.  I'm  perfectly 
honest  with  you  —  cards  all  on  the  table,  you  know 
that.  I'm  hoping  if  you  like  him  —  and  he's  the  best 
scout  in  the  world,  that  he  can  help  you.  [Talking 
hurriedly  against  the  stillness  which  follows  her  look  from 
him  to  ADELAIDE,  where  she  sees  between  them  an  "  under 
standing  "  about  her.]  Sure  you  need  help,  Claire. 
Your  nerves  are  a  little  on  the  blink  —  from  all  you've 
been  doing.  No  use  making  a  mystery  of  it  —  or  a 
tragedy.  Emmons  is  a  cracker-jack,  and  naturally 
I  want  you  to  get  a  move  on  yourself  and  be  happy 
again. 

CLAIRE 

[Who  has  gone  over  to  the  window]  And  this  neurol 
ogist  can  make  me  happy? 

HARRY 
Can  make  you  well  —  and  then  you'll  be  happy. 

ADELAIDE 

[In  the  voice  <?/  now  fixing  it  all  up]    And  I  just  had 

an  idea  about  Elizabeth.   Instead  of  working  with  mere 

plants,  why  not  think  of  Elizabeth  as  a  plant  and  — 

[CLAIRE,   who  has  been  looking   out  the 

window  now  throws  open  one  of  the 

panes  that  swings  out  —  or  seems  to 

and  calls  down  in  great  excitement. 


THE  VERGE  71 

CLAIRE 
Tom!  Tom!  Quick!  Up  here!  I'm  in  trouble! 

HARRY 

[Going  to  the  window.]  That's  a  rotten  thing  to  do, 
Claire!  You've  frightened  him. 

CLAIRE 

Yes,  how  fast  he  can  run.  He  was  deep  in  thought 
and  I  stabbed  right  through. 

HARRY 

Well,  he'll  be  none  too  pleased  when  he  gets  up  here 
and  finds  there  was  no  reason  for  the  stabbing ! 

[They  wait  for  his  footsteps,  HARRY 
annoyed,  ADELAIDE  offended,  but 
stealing  worried  looks  at  CLAIRE,  who 
is  looking  fixedly  at  the  place  in  the 
floor  where  TOM  will  appear.  —  Run 
ning  footsteps. 

TOM 

[His  voice  getting  there  before  he  does.]  Yes,  Claire  — 
yes  —  yes  —  [As  his  head  appears.]  What  is  it? 

CLAIRE 

[At  once  presenting  him  and  answering  his  question] 
My  sister. 

TOM 

[Gasping]  Oh,  —  why  —  is  that  all?  I  mean — how 
do  you  do?  Pardon,  I  [Panting]  came  up  —  rather 
hurriedly. 

HARRY 

If  you  want  to  slap  Claire,  Tom,  I  for  one  have  no 
objection. 


72  THE  VERGE 

CLAIRE 

Adelaide  has  the  most  interesting  idea,  Tom.  She 
proposes  that  I  take  Elizabeth  and  roll  her  in  the 
gutter.  Just  let  her  lie  there  until  she  breaks  up  into  — 

ADELAIDE 

Claire!  I  don't  see  how  —  even  in  fun  —  pretty 
vulgar  fun  —  you  can  speak  in  those  terms  of  a  pure 
young  girl.  I'm  beginning  to  think  I  had  better  take 
Elizabeth. 

CLAIRE 

Oh,  I've  thought  that  all  along. 

ADELAIDE 

And  I'm  also  beginning  to  suspect  that  —  oddity 
may  be  just  a  way  of  shifting  responsibility. 

CLAIRE 

[Cordially  interested  in  this  possibility.]  Now  you 
know  —  that  might  be. 

ADELAIDE 

A  mother  who  does  not  love  her  own  child!  You  are 
an  unnatural  woman,  Claire. 

CLAIRE 
Well,  at  least  it  saves  me  from  being  a  natural  one. 

ADELAIDE 

Oh  —  I  know,  you  think  you  have  a  great  deal!  But 
let  me  tell  you,  you've  missed  a  great  deal!  You've 
never  known  the  faintest  stirring  of  a  mother's  love. 

CLAIRE 
That's  not  true. 

HARRY 
No.    Claire  loved  our  boy. 


THE  VERGE  73 

CLAIRE 
I'm  glad  he  didn't  live. 

HARRY 

[Low.]     Claire! 

CLAIRE 

I  loved  him.   Why  should  I  want  him  to  live? 

HARRY 

Come,  dear,  I'm  sorry  I  spoke  of  him  —  when  you're 
not  feeling  well. 

CLAIRE 

I'm  feeling  all  right.  Just  because  I'm  seeing  some 
thing,  it  doesn't  mean  I'm  sick. 

HARRY 

Well,  let's  go  down  now.  About  dinner  time.  I 
shouldn't  wonder  if  Emmons  were  here.  [As  ADELAIDE 
is  starting  down  stairs.]  Coming,  Claire? 

CLAIRE 
No. 

HARRY 
But  it's  time  to  go  down  for  dinner. 

CLAIRE 
I'm  not  hungry. 

HARRY 

But  we  have  a  guest.  Two  guests  —  Adelaide's 
staying,  too. 

CLAIRE 
Then  you're  not  alone. 

HARRY 
But  I  invited  Dr.  Emmons  to  meet  you. 


74  THE  VERGE 

CLAIRE 
[Her  smile  flashing.]    Tell  him  I  am  violent  tonight. 

HARRY 
Dearest  —  how  can  you  joke  about  such  things! 

CLAIRE 
So  you  do  think  they're  serious? 

HARRY 

[Irritated.]  No,  I  do  not!  But  I  want  you  to  come 
down  for  dinner! 

ADELAIDE 

Come,  come,  Claire;  you  know  quite  well  this  is  not 
the  sort  of  thing  one  does. 

CLAIRE 

Why  go  on  saying  one  doesn't,  when  you  are  seeing 
one  does?  [To  Tom.]  Will  you  stay  with  me  a 
while?  I  want  to  purify  the  tower. 

[ADELAIDE  begins  to  disappear. 

HARRY 

Fine  time  to  choose  for  a  te'te-a-te'te.  [As  he  is  leav 
ing.]  I'd  think  more  of  you,  Edgeworthy,  if  you 
refused  to  humor  Claire  in  her  ill-breeding. 

ADELAIDE 

[Her  severe  voice  coming  from  below.]  It  is  not  what 
she  was  taught. 

CLAIRE 

No,  it's  not  what  I  was  taught.  [Laughing  rather 
timidly.]  And  perhaps  you'd  rather  have  your  dinner? 

TOM 
No. 


THE  VERGE  75 

CLAIRE 

We'll  get  something  later.  I  want  to  talk  to  you. 
[But  she  does  not  —  laughs.]  Absurd  that  I  should  feel 
bashful  with  you.  Why  am  I  so  awkward  with  words 
when  I  go  to  talk  to  you? 

TOM 
The  words  know  they're  not  needed. 

CLAIRE 

No,  they're  not  needed.  There's  something  under 
neath  —  an  open  way  —  down  below  the  way  that 
words  can  go.  [rather  desperately.]  It  is  there,  isn't  it  ? 

TOM 

Oh,  yes,  it  is  there. 

CLAIRE 
Then  why  do  we  never  —  go  it? 

/  TOM 

,      If  we  went  it,  it  would  not  be  there. 

CLAIRE 
Is  that  true?   How  terrible,  if  that  is  true. 

TOM 

Not  terrible,  wonderful  —  that  it  should  —  of  itself 
—  be  there. 

CLAIRE 

[With  the  simplicity  that  can  say  anything.]  I  want 
to  go  it,  Tom,  I'm  lonely  up  on  top  here.  Is  it  that  I 
have  more  faith  than  you,  or  is  it  only  that  I'm  greedier? 
You  see  you  don't  know  —  [Her  reckless  laugh.]  what 
you're  missing.  You  don't  know  how  I  could  love  you. 

TOM 

Don't,  Claire;  that  isn't  —  how  it  is  —  between  you 
and  me. 


76  THE  VERGE 

CLAIRE 

But  why  can't  it  be  —  every  way  —  between  you 
and  me? 

TOM 

Because  we'd  lose  —  the  open  way.  [The  quality  of 
his  denial  shows  how  strong  his  feeling  for  her.]  With 
anyone  else  —  not  with  you. 

CLAIRE 

But  you  are  the  only  one  I  want.  The  only  one  —  all 
of  me  wants. 

TOM 
I  know;  but  that's  the  way  it  is. 

CLAIRE 
You're  cruel. 

TOM 

Oh,  Claire,  I'm  trying  so  hard  to  —  save  it  for  us. 
Isn't  it  our  beauty  and  our  safeguard  that  underneath 
our  separate  lives,  no  matter  where  we  may  be,  with 
what  other,  there  is  this  open  way  between  us?  That's 
so  much  more  than  anything  we  could  bring  to  being. 

CLAIRE 

Perhaps.  But  —  it's  different  with  me.  I'm  not  — 
all  spirit. 

TOM 
[His  hand  on  her.]     Dear! 

CLAIRE 

No,  don't  touch  me  —  since  —  [Moving.]  you're 
going  away  tomorrow?  [He  nods.]  For  —  always? 
[His  head  just  moves  assent.]  India  is  just  another 
country.  But  there  are  undiscovered  countries. 


THE   VERGE  77 

TOM 

Yes,  but  we  are  so  feeble  we  have  to  reach  our 
country  through  the  actual  country  lying  nearest. 
Don't  you  do  that  yourself,  Claire?  Reach  your 
country  through  the  plants'  country? 

CLAIRE 
My  country?    You  mean  —  Outside? 

TOM 

No,  I  don't  think  it  that  way. 

CLAIRE 

Oh,  yes,  you  do. 

TOM 

Your  country  is  the  inside,  Claire.  The  innermost. 
You  are  disturbed  because  you  lie  too  close  upon  the 
heart  of  life. 

CLAIRE 

[Restlessly.]  I  don't  know;  you  can  think  it  one 
way  —  or  another.  No  way  says  it,  and  that's  good  — 
at  least  it's  not  shut  up  in  saying. 

[She  is  looking  at  her  enclosing  hand,  as  if 
something  is  shut  up  there. 

TOM 

But  also,  you  know,  things  may  be  freed  by  expres 
sion.  Come  from  the  unrealized  into  the  fabric  of  life. 

CLAIRE 

Yes,  but  why  does  the  fabric  of  life  have  to  —  freeze 
into  its  pattern?  It  should  —  [doing  it  with  her  hands} 
flow  [Then  turning  like  an  unsatisfied  child  to  him}  But 
I  wanted  to  talk  to  you. 

TOM 

You  are  talking  to  me.  Tell  me  about  your  flower 
that  never  was  before  —  your  Breath  of  Life  ? 


78  THE  VERGE 

CLAIRE 
I'll  know  tomorrow.    You'll  not  go  until  I  know? 

TOM 
I'll  try  to  stay. 

CLAIRE 
It  seems  to  me,  if  it  has  —  then  I  have,  integrity  in 

—  [Smiles,  it  is  as  if  the  smile  lets  her  say  it.]     otherness. 
I  don't  want  to  die  on  the  edge! 

TOM 

Not  you! 

CLAIRE 

Many  do.    It's  what  makes  them  too  smug  in  all-ness 

—  those  dead  things  on  the  edge,  died,  distorted  — 
trying  to  get  through.    Oh  —  don't  think  I  don't  see 

—  The  Edge  Vine!     [A  pause,  then  swiftly.]     Do  you 
know  what  I  mean?   Or  do  you  think  I'm  just  a  fool, 
or  crazy? 

TOM 

I  think  I  know  what  you  mean,  and  you  know  I  don't 
think  you  are  a  fool,  or  crazy. 

CLAIRE 

Stabbed  to  awareness !  —  no  matter  where  it  takes 
you,  isn't  that  more  than  a  safe  place  to  stay?  [Telling 
him  very  simply  despite  ilie  pattern  <?/  pain  in  her  voice.] 
Anguish  may  be  a  thread  —  making  patterns  that 
haven't  been.  A  thread  —  blue  and  burning. 

TOM 

[To  take  her  from  what  even  he  fears  for  her.]  But 
you  were  telling  me  about  the  flower  you  breathed  to 
life.  What  is  your  Breath  of  Life? 

CLAIRE 

[An  instant  playing.}  It's  a  secret.  A  secret?  —  it's 
a  trick.  Distilled  from  the  most  fragile  flowers  there 


THE  VERGE  '«, 

are.  It's  only  air  —  pausing  —  playing;  except,  far  in, 
one  stab  of  red,  its  quivering  heart  —  that  asks  a 
question.  But  here's  the  trick  —  I  bred  the  air  —  form 
to  strength.  The  strength  shut  up  behind  us  I've  sent 
—  far  out.  [Troubled.]  I'll  know  tomorrow.  And  I 
have  another  gift  for  Breath  of  Life;  some  day  — 
though  days  of  work  lie  in  between  —  some  day  I'll 
give  it  reminiscence.  Fragrance  that  is  —  no  one  thing 
in  here  but  —  reminiscent.  [Silence,  she  raises  wet 
eyes.]  We  need  the  haunting  beauty  from  the  life 
we've  left.  I  need  that.  [He  takes  her  hands  and 
breathes  her  name.]  Let  me  reach  my  country  with 
you.  I'm  not  a  plant.  After  all,  they  don't  —  accept 
me.  Who  does  —  accept  me  ?  Will  you  ? 

TOM 

My  dear  —  dear,  dear,  Claire  —  you  move  me  so! 
You  stand  alone  in  a  clearness  that  breaks  my  heart. 
[Her  hands  move  up  his  arms.  He  takes  them  to  hold 
them  from  where  they  would  go  —  though  he  can  hardly 
do  it.]  But  you've  asked  what  you  yourself  could 
answer  best.  We'd  only  stop  in  the  country  where 
everyone  stops. 

CLAIRE 

We  might  come  through  —  to  radiance. 

TOM 
Radiance  in  an  enclosing  place. 

CLAIRE 

Perhaps  radiance  lighting  forms  undreamed.  [Her 
reckless  laugh.]  I'd  be  willing  to  —  take  a  chance,  I'd 
rather  lose  than  never  know. 

TOM 

No,  Claire.  Knowing  you  from  underneath,  I  know 
you  couldn't  bear  to  lose. 


BO  THE  VERGE 

CLAIRE 
Wouldn't  men  say  you  were  a  fool! 

TOM 
They  would. 

CLAIRE 

And  perhaps  you  are.  [He  smiles  a  little .]  I  feel  so 
desperate,  because  if  only  I  could  —  show  you  what 
I  am,  you  might  see  I  could  have  without  losing.  But 
I'm  a  stammering  thing  with  you. 

TOM 
You  do  show  me  what  you  are. 

CLAIRE 

I've  known  a  few  moments  that  were  life.  Why  don't 
they  help  me  now?  One  was  in  the  air.  I  was  up  with 
Harry  —  flying  —  high.  It  was  about  four  months 
before  David  was  born  —  the  doctor  was  furious  — 
pregnant  women  are  supposed  to  keep  to  earth.  We 
were  going  fast  —  I  was  flying  —  I  had  left  the  earth. 
And  then  —  within  me,  movement,  for  the  first  time 
—  stirred  to  life  far  in  air  -«-  movement  within.  The  man 
unborn,  he  too,  would  fly.  And  so  —  I  always  loved 
him,  He  was  movement  —  and  wonder.  In  his  short 
life  were  many  flights.  I  never  told  anyone  about  the 
last  one.  His  little  bed  was  by  the  window  —  he 
wasn't  four  years  old.  It  was  night,  but  him  not 
asleep.  He  saw  the  morning  star  —  you  know  —  the 
morning  star.  Brighter  —  stranger  —  reminiscent  — 
and  a  promise.  He  pointed — "Mother,"  he  asked 
me,  "  what  is  there  —  beyond  the  stars?  "  A  baby,  a 
sick  baby  —  the  morning  star.  Next  night  —  the 
finger  that  pointed  was  —  [Suddenly  bites  her  own 
finger]  But,  yes,  I  am  glad.  He  would  always  have 
tried  to  move  and  too  much  would  hold  him.  Wonder 
would  die  —  and  he'd  laugh  at  soaring.  [Looking 


THE  VERGE  81 

down,  sidewise]     Though  I  liked  his  voice.    So  I  wish 
you'd  stay  near  me  —  for  I  like  your  voice,  too. 

TOM 
Claire!    That's  —  [Choked.]    almost  too  much. 

CLAIRE 

[One  of  her  swift  changes  —  canny,  almost  practical.} 
Well,  I'm  glad  if  it  is.  How  can  I  make  it  more?  [But 
what  she  sees  brings  its  own  change.]  I  know  what  it  is 
you're  afraid  of.  It's  because  I  have  so  much  —  yes, 
why  shouldn't  I  say  it  ?  —  passion.  You  feel  that  in 
me,  don't  you?  You  think  it  would  swamp  everything. 
But  that  isn't  all  there  is  to  me. 

TOM 

Oh,  I  know  it!  My  dearest  —  why  it's  because  I 
know  it!  You  think  I  am  —  a  fool? 

CLAIRE 

It's  a  thing  that's  —  sometimes  more  than  I  am. 
And  yet  I  —  I  am  more  than  it  is. 

TOM 

I  know.     I  know  about  you. 
CLAIRE 

I  don't  know  that  you  do.  Perhaps  if  you  really 
knew  about  me  —  you  wouldn't  go  away. 

TOM 
You're  making  me  suffer,  Claire. 

CLAIRE 

I  know  I  am.  I  want  to.  Why  shouldn't  you  suffer? 
[Now  seeing  it  more  clearly  than  she  has  ever  seen  it.] 
You  know  what  I  think  about  you?  You're  afraid  of 
suffering,  and  so  you  stop  this  side  —  in  what  you 
persuade  yourself  is  suffering.  [Waits,  then  sends  it 


82  THE  VERGE 

straight.]  You  know  —  how  it  is  —  with  me  and 
Dick?  [As  she  sees  him  suffer.]  Oh,  no,  I  don't  want 
to  hurt  you!  Let  it  be  you!  I'll  teach  you  —  you 
needn't  scorn  it.  It's  rather  wonderful. 

TOM 
Stop  that,  Claire!    That  isn't  you. 

CLAIRE 

Why  are  you  so  afraid  —  of  letting  me  be  low  —  if 
that.  ^  is    low?     You    see — [Cannily.]     I    believe    in 
beauty.    I  have  the  faith  that  can  be  bad  as  well  as 
good.    And  you  know  why  I  have  the  faith?   Because 
sometimes  —  from  my  lowest  moments —  beauty^  has 
opened  as  the  sea.    From  a  cave  I  saw  immensity. 
My  love,  you're  going  away  — 
Let  me  tell  you  how  it  is  with  me; 
I  want  to  touch  you  —  somehow  touch  you  once  before 
I  die  — 
Let  me  tell  you  how  it  is  with  me. 

I  do  not  want  to  work, 
I  want  to  be; 

Do  not  want  to  make  a  rose  or  make  a  poem  — 
Want  to  lie  upon  the  earth  and  know. 

[Closes  her  eyes.] 

Stop  doing  that !  —  words  going  into  patterns ; 
They  do  it  sometimes  when  I  let  come  what's  there. 
Thoughts  take  pattern  —  then  the  pattern  is  the  thing. 
But  let  me  tell  you  how  it  is  with  me. 

[It  flows  again.] 

All  that  I  do  or  say  —  it  is  to  what  it  comes  from,  — 
A  drop  lifted  from  the  sea. 
I  want  to  lie  upon  the  earth  and  know. 
But  —  scratch  a  little  dirt  and  make  a  flower; 
Scratch  a  bit  of  brain  —  something  like  a  poem. 

[Covering  her  face.] 
Stop  doing  that.     Help  me  stop  doing  that! 


THE  VERGE  83 

TOM 

[And  from  the  place  where  she  had  carried 

him. 

Don't  talk  at  all.    Lie  still  and  know  — 
And  know  that  I  am  knowing. 

CLAIRE 

Yes;  but  we  are  so  weak  we  have  to  talk; 
To  talk  —  to  touch. 
Why  can't  I  rest  in  knowing  I  would  give  my  life  to 

reach  you? 

That  has  —  all  there  is. 

But  I  must  —  put  my  timid  hands  upon  you, 
Do  something  about  infinity. 
Oh,  let  what  will  flow  into  us, 
And  fill  us  full  —  and  leave  us  still. 
Wring  me  dry, 

And  let  me  fill  again  with  life  more  pure. 
To  know  —  to  feel, 

And  do  nothing  with  what  I  feel  and  know  — 
That's  being  good.   That's  nearer  God. 

[Drenched  in  the  feeling  that  has  flowed  through  her  — 
but  surprised  —  helpless.]  Why,  I  said  your  thing, 
didn't  I  ?  Opened  my  life  to  bring  you  to  me,  and  what 
came  —  is  what  sends  you  away. 

TOM 

No!  What  came  is  what  holds  us  together.  What 
came  is  what  saves  us  from  ever  going  apart.  [Brokenly.] 
My  beautiful  one.  You  —  you  brave  flower  of  all  our 
knowing. 

CLAIRE 

I  am  not  a  flower.    I  am  too  torn.    If  you  have 
anything  —  Help  me.    Breathe.    Breathe  the  healing 
oneness,  and  let  me  know  in  calm. 
*  [With  a  sob  his  head  rests  upon  her. 


84  THE  VERGE 

CLAIRE 

[Her  hands  on  his  head,  but  looking  far.]  Beauty  — 
you  pure  one  thing.  Breathe  —  Let  me  know  in  calm. 
Then  —  trouble  me,  trouble  me  —  for  other  moments 
—  in  father  calm. 

[Slow,  motionless,  barely  articulate 

TOM 

[As  she  does  not  move  he  lifts  his  head.  And  even  as 
he  looks  at  her,  she  does  not  move,  nor  look  at  him.] 
Claire  —  [His  hand  out  to  her,  a  little  afraid.]  You 
went  away  from  me  then.  You  are  away  from  me 
now. 

CLAIRE 

Yes,  and  I  could  go  on.  But  I  will  come  back.  [It 
is  hard  to  do.  She  brings  much  with  her.]  That,  too, 
I  will  give  you  —  my  by-my  self -ness.  That's  the  utter 
most  I  can  give.  I  never  thought  —  to  try  to  give  it. 
But  let  us  do  it  —  the  great  sacrilege !  Yes !  [Excited, 
she  rises;  she  has  his  hands,  and  brings  him  up  beside 
her.]  Let  us  take  the  mad  chance!  Perhaps  it's  the 
only  way  to  save  —  What's  there.  How  do  we  know? 
How  can  we  know?  Risk.  Risk  everything.  From 
all  that  flows  into  us,  let  it  rise!  All  that  we  never 
thought  to  use  to  make  a  moment  —  let  it  flow  into 
what  could  be !  Bring  all  into  life  between  us  —  or 
send  all  down  to  death!  Oh,  do  you  know  what  I  am 
doing?  Risk,  risk  everything.  Why  are  you  so  afraid 
to  lose?  What  holds  you  from  me?  Test  all.  Let  it 
live  or  let  it  die.  It  is  our  chance  —  our  chance  to 
bear  —  what's  there.  My  dear  one  —  I  will  love  you 
so.  With  all  of  me.  I  am  not  afraid  now  —  of  —  all 
of  me.  Be  generous.  Be  unafraid.  Life  is  for  life  — 
though  it  cuts  us  from  the  farthest  life.  How  can 
I  make  you  know  that's  true?  All  that  we're  open  to  — 
[Hesitates,  shudders.]  But  yes  —  I  will,  I  will  risk  the 
life  that  waits.  Perhaps  only  he  who  gives  his  loneli- 


THE  VERGE  85 

ness  —  shall  find.  You  never  keep  by  holding.  [Gesture 
of  giving.]  To  the  uttermost.  And  it  is  gone  —  or  it 
is  there.  You  do  not  know  and  —  that  makes  the 
moment  —  [Mitsic  has  begun  —  a  phonograph  down 
stairs;  they  do  not  heed  it.]  Just  as  I  would  cut  my 
wrists  —  [Holding  them  out.]  Yes,  perhaps  this  lesser 
thing  will  tell  it  —  would  cut  my  wrists  and  let  the 
blood  flow  out  till  all  is  gone  if  my  last  drop  would 
make  —  would  make  — [Looking  at  them  fascinated.] 
I  want  to  see  it  doing  that !  Let  me  give  my  last  chance 
for  life  to  — 

[He  snatches  her  —  they  are  on  the  brink 
of  their  moment;  now  that  there  are 
no  words  the  phonograph  from  down 
stairs  is  louder.  It  is  playing  lan- 
gorously  the  Barcarole;  they  become 
conscious  of  this  —  they  do  not  want 
to  be  touched  by  the  love  song. 

CLAIRE 

Don't  listen.  That's  nothing.  This  isn't  that. 
[Fearing.]  I  tell  you  —  it  isn't  that.  Yes,  I  know  — 
that's  amorous  —  enclosing.  I  know  —  a  little  place. 
This  isn't  that.  [Her  arms  going  around  him  —  all  the 
lure  of  "  that  "  while  she  pleads  against  it  as  it  comes  up 
to  them.]  We  will  come  out  —  to  radiance  —  in  far 
places.  [Admitting,  using.]  Oh,  then  let  it  be  that! 
Go  with  it.  Give  up  —  the  otherness.  I  will !  And  in 
the  giving  up  —  perhaps  a  door  —  we'd  never  find  by 
searching.  And  if  it's  no  more  —  than  all  have  known, 
I  only  say  —  it's  worth  the  allness !  [Her  arms  wrapped 
round  him.]  My  love  —  my  love  —  let  go  your  pride 
in  loneliness  and  let  me  give  you  joy! 

TOM 

[Drenched  in  her  passion,  but  fighting.]  It's  you. 
[In  anguish.]  You  rare  thing  untouched  —  not  —  not 


86  THE  VERGE 

into  this  —  not  back  into  this  —  by  me  —  lover  of  your 

apartness. 

[She  steps  back.  She  sees  he  cannot.  She 
stands  there,  before  what  she  wanted 
more  than  life,  and  almost  had,  and 
lost.  A  long  moment.  Then  she  runs 
down  the  stairs. 

CLAIRE 

[Her  voice  coming  up.}  Harry!  Choke  that  phono 
graph  !  If  you  want  to  be  lewd  —  do  it  yourselves ! 
You  tawdry  things  —  you  cheap  little  lewd  cowards  — 
[A  door  heard  opening  below.}  Harry!  If  you  don't 
stop  that  music,  I'll  kill  myself.  [Far  down,  steps  on 
stairs. 

HARRY 

Claire,  what  is  this  ? 

CLAIRE 

Stop  that  phonograph  or  I'll  — 

HARRY 

Why  of  course  I'll  stop  it.  What  —  what  is  there  to 
get  so  excited  about  ?  Now  —  now  just  a  minute,  dear. 
It'll  take  a  minute. 

[CLAIRE  comes  back  upstairs,  dragging 
steps,  face  ghastly.  The  amorous  song 
still  comes  up,  and  louder  now,  that 
doors  are  open.  She  and  TOM  do  not 
look  at  one  another.  Then,  on  a 
langorous  swell  the  music  comes  to  a 
grating  stop.  They  do  not  speak  or 
move.  Quick  footsteps  —  HARRY  comes 
up. 

HARRY 

What  in  the  world  were  you  saying,  Claire?  Cer 
tainly  you  could  have  asked  me  more  quietly  to  turn 
off  the  Victrola.  Though  what  harm  was  it  doing  you 


THE  VERGE  87 

—  way  up  here?  [A  sharp  little  sound  from  CLAIRE;  she 
checks  it,  her  hand  over  her  mouth.  HARRY  looks  from  her 
to  TOM.]  Well  I  think  you  two  would  better  have  had 
your  dinner.  Won't  you  come  down  now  and  have 
some? 

CLAIRE 

[Only  now  taking  her  hand  from  her  mouth.}  Harry, 
tell  him  to  come  up  here  —  that  insanity  man.  I  — 
want  to  ask  him  something. 

HARRY 

"Insanity  man!"  How  absurd.  He's  a  nerve 
specialist.  There's  a  vast  difference. 

CLAIRE 

Is  there?  Anyway,  ask  him  to  come  up  here.  Want 
to  —  ask  him  something. 

TOM 

[Speaking  with  difficulty.]  Wouldn't  it  be  better  for 
us  to  go  down  there? 

CLAIRE 
No.   So  nice  up  here !   Everybody  —  up  here ! 

HARRY 

[Worried]  You'll  —  be  yourself,  will  you,  Claire? 
[She  checks  a  laugh,  nods.]  I  think  he  can  help  you. 

CLAIRE 
Want  to  ask  him  to  —  help  me. 

HARRY 

[As  he  is  starting  down.]  He's  here  as  a  guest 
tonight,  you  know,  Claire. 

CLAIRE 
I  suppose  a  guest  can  —  help  one. 


88  THE   VERGE 

TOM 

[When  the  silence  rejects  it.]  Claire,  you  must  know, 
it's  because  it  is  so  much,  so  — 

CLAIRE 
Be  still.     There  isn't  anything  to  say. 

TOM 
[Torn  —  tortured.]     If  it  only  weren't  you! 

CLAIRE 

Yes,  —  so  you  said.  If  it  weren't  I.  I  suppose  I 
wouldn't  be  so  —  interested ! 

[Hears  them  starting  up  below  —  keeps 
looking  at  the  place  where  they  will 
appear. 

[HARRY  is  heard  to  call,  "  Coming,  DICK?  " 
and  DICK'S  voice  replies,  "In  a 
moment  or  two."  ADELAIDE  comes 
first. 

ADELAIDE 

[As  her  head  appears]  Well,  these  stairs  should  keep 
down  weight.  You  missed  an  awfully  good  dinner, 
Claire.  And  kept  Mr.  Edgeworthy  from  a  good  dinner. 

CLAIRE 
Yes.    We  missed  our  dinner. 

[Her  eyes  do  not  leave  the  place  where  DR. 
EMMONS  will  come  up.] 

HARRY 
[As  he  and  EMMONS  appear.]    Claire,  this  is  — 

CLAIRE 
Yes,  I  know  who  he  is.    I  want  to  ask  you  — 


THE   VERGE  89 

ADELAIDE 

Let  the  poor  man  get  his  breath  before  you  ask  him 
anything. 

[He  nods,  smiles,  looks  at  CLAIRE  with 
interest.  Careful  not  to  look  too  long 
at  her,  surveys  the  tower. 

EMMONS 
Curious  place. 

ADELAIDE 

Yes;  it  lacks  form,  doesn't  it? 

CLAIRE 
What  do  you  mean?     How  dare  you?y 

[It  is  impossible  to  ignore  her  agitation;  she 
is  backed  against  the  curved  wall,  as 
far  as  possible  from  them.  HARRY 
looks  at  her  in  alarm,  then  in  resent 
ment  at  TOM  who  takes  a  step  nearer 
CLAIRE. 

HARRY 
[Trying  to  be  light]     Don't  take  it  so  hard  Claire. 

CLAIRE 

[To  Emmons.]  It  must  be  very  interesting  —  help 
ing  people  go  insane. 

ADELAIDE 
Claire!    How  preposterous. 

EMMONS 
[Easily.]     I  hope  that's  not  precisely  what  we  do. 

ADELAIDE 

[With  the  smile  of  one  who  is  going  to  "  cover  it." 
Trust  Claire  to  put  it  in  the  unique  and  —  amusing 
way. 


90  THE  VERGE 

CLAIRE 

Amusing?  You  are  amused?  But  it  doesn't  matter. 
[To  the  doctor}  I  think  it  is  very  kind  of  you  —  helping 
people  go  insane.  I  suppose  they  have  all  sorts  of 
reasons  for  having  to  do  it  —  reasons  why  they  can't 
stay  sane  any  longer.  But  tell  me,  how  do  they  do  it? 
It's  not  so  easy  to  —  get  out.  How  do  so  many  manage 
it? 

EMMONS 

I'd  like  immensely  to  have  a  talk  with  you  about  all 
this  some  day. 

ADELAIDE 

Certainly  this  is  not  the  time,  Claire. 

CLAIRE 

The  time?  When  you  —  can't  go  any  farther  — isn't 
that  — 

ADELAIDE 

[Capably  taking  the  whole  thing  into  matter-of-fact- 
ness.]  What  I  think  is,  Claire  has  worked  too  long 
with  plants.  There's  something  —  not  quite  sound 
about  making  one  thing  into  another  thing.  What  we 
need  is  unity.  [From  CLAIRE  something  like  a  moan] 
Yes  dear,  we  do  need  it  —  [To  the  doctor]  I  can't  say 
that  I  believe  in  making  life  over  like  this.  I  don't 
think  the  new  species  are  worth  it.  At  least  I  don't 
believe  in  it  for  Claire.  If  one  is  an  intense,  sensitive 
person  — 

CLAIRE 

Isn't  there  any  way  to  stop  her?  Always  —  always 
smothering  it  with  the  word  for  it? 

EMMONS 

[Soothingly]  But  she  can't  smother  it.  Anything 
that's  really  there  —  she  can't  hurt  with  words. 


THE  VERGE  91 

CLAIRE 

[Looking  at  him  with  eyes  too  bright.]  Then  you  don't 
see  it  either.  [Angry.]  Yes,  she  can  hurt  it !  Piling  it 
up  —  always  piling  it  up  —  between  us  and  —  What 
there.  Clogging  the  way  —  always  —  [To  EMMONS.] 
I  want  to  cease  to  know !  That's  all  I  ask.  Darken  it. 
Darken  it.  If  you  came  to  help  me,  strike  me  blind ! 

EMMONS 

You're  really  all  tired  out,  aren't  you?  Oh,  we've 
got  to  get  you  rested. 

CLAIRE 

They  —  deny  it  saying  they  have  it ;  and  he  —  [half 
looks  at  TOM  —  quickly  looks  away]  others,  deny  it  — 
afraid  of  losing  it.  We're  in  the  way.  Can't  you  see  the 
dead  stuff  piled  in  the  path? 

[Pointing. 
DICK 

[Voice  coming  up.]     Me  too? 

CLAIRE 

[Staring  at  the  path,  hearing  his  voice  a  moment  after 
it  has  come.]  Yes,  Dick  —  you  too.  Why  not  —  you 
too.  [After  he  has  come  up.]  What  is  there  any  more 
than  you  are? 

DICK 

[Embarrassed  by  the  intensity,  but  laughing.]  A  ques 
tion  not  at  all  displeasing  to  me.  Who  can  answer  it? 

CLAIRE 

[More  and  more  excited.]  Yes!  Who  can  answer  it? 
[Going  to  him,  in  terror.]  Let  me  go  with  you  —  and 
be  with  you  —  and  know  nothing  else ! 

ADELAIDE 
[Gasping.]    Why  —  ! 


92  THE  VERGE 

HARRY 
Claire !   This  is  going  a  little  too  — 

CLAIRE 

Far?  But  you  have  to  go  far  to  —  [Clinging  to  DICK.] 
Only  a  place  to  hide  your  head  —  what  else  is  there  to 
hope  for  ?  I  can't  stay  with  them  —  piling  it  up ! 
Always  —  piling  it  up!  I  can't  get  through  to  —  he 
won't  let  me  through  to  —  what  I  don't  know  is  there! 
[As  DICK  would  help  her  regain  herself.]  Don't  push 
me  away!  Don't  —  don't  stand  me  up,  I  will  go  back 
—  to  the  worst  we  ever  were !  Go  back  —  and  remem 
ber —  what  we've  tried  to  forget! 

ADELAIDE 

It's  time  to  stop  this  by  force  —  if  there's  no  other 
way. 

[The  doctor  shakes  his  head. 

CLAIRE 

All  I  ask  is  to  die  in  the  gutter  with  everyone  spitting 
on  me.  [Changes  to  a  curious  weary  smiling  quiet.] 
Still,  why  should  they  bother  to  do  that? 

HARRY 

[Brokenly.]  You're  sick,  Claire.  There's  no  denying 
it. 

[Looks  at  EMMONS,  who  nods. 

ADELAIDE 
Something  to  quiet  her  —  to  stop  it. 

CLAIRE 

[Throwing  her  arms  around  DICK.]  You,  Dick.  Not 
them.  Not  —  any  of  them. 

DICK 
Claire,  you  are  overwrought.    You  must  — 


THE  VERGE  93 

HARRY 

[To  DICK,  as  if  only  now  realizing  that  phase  of  it.] 

I'll  tell  you  one  thing,  you'll  answer  to  me  for  this! 

[He   starts  for    DICK —  is   restrained   by 

EMMONS,  chiefly  by  his  grave  shake 

of  the  head.    With  HARRY'S  move  to 

them,  DICK  has  shielded  CLAIRE. 

CLAIRE 

Yes  —  hold  me.  Keep  me.  You  have  mercy !  You 
will  have  mercy.  Anything  —  everything  —  that  will 
let  me  be  nothing! 


[CURTAIN] 


ACT  THREE 


In  the  greenhouse,  the  same  as  Act  I.  ANTHONY  is 
bedding  small  plants  where  the  Edge  Vine  grew.  In  the 
inner  room  the  plant  like  caught  motion  glows  as  from  a 
light  within. 

HATTIE,  the  Maid,  rushes  in  from  outside. 

ANTHONY 
[Turning  angrily.]  You  are  not  what  this  place  — 

HATTIE 

Anthony,  come  in  the  house.  I'm  afraid.  Mr. 
Archer,  I  never  saw  him  like  this.  He's  talking  to 
Mr.  Demming  —  something  about  Mrs.  Archer. 

ANTHONY 

[Who  in  spite  of  himself  is  disturbed  by  her  agitation.] 
And  if  it  is,  it's  no  business  of  yours. 

HATTIE 
You  don't  know  how  he  is.  I  went  in  the  room  and  — 

ANTHONY 
Well,  he  won't  hurt  you,  will  he? 

HATTIE 

How  do  I  know  who  he'll  hurt  —  a  person's  whose 
—  [Seeing  how  to  get  him.]  Maybe  he'll  hurt  Mrs. 
Archer. 

ANTHONY 
[Startled,  then  smiles.]  No;  he  won't  hurt  Miss  Claire, 


THE  VERGE  95 

HATTIE 

What  do  you  know  about  it?  —  out  here  in  the  plant 
house? 

ANTHONY 

And  I  don't  want  to  know  about  it.  This  is  a  very 
important  day  for  me.  It's  Breath  of  Life  I'm  thinking 
of  today  —  not  you  and  Mr.  Archer. 

HATTIE 
Well  suppose  he  does  something  to  Mr.  Demming? 

ANTHONY 

Mr.  Demming  will  have  to  look  out  for  himself, 
I  am  at  work. 

[Resuming  work. 
HATTIE 

Don't  you  think  I  ought  to  tell  Mrs.  Archer  that  — 

ANTHONY 

You  let  her  alone!  This  is  no  day  for  her  to  be 
bothered  by  you.  At  eleven  o'clock  —  [Looks  at  watch.] 
—  she  comes  out  here  —  to  Breath  of  Life. 

HATTIE 

[With  greed  for  gossip.]  Did  you  see  any  of  them 
when  they  came  downstairs  last  night? 

ANTHONY 

I  was  attending  to  my  own  affairs. 
HATTIE 

They  was  all  excited.  Mr.  Edgeworthy  —  he  went 
away.  He  was  gone  all  night,  I  guess.  I  saw  him 
coming  back  just  as  the  milkman  woke  me  up.  Now 
he's  packing  his  things.  He  wanted  to  get  to  Mrs. 
Archer  too  —  just  a  little  while  ago.  But  she  won't 
open  her  door  for  none  of  them.  I  can't  even  get  in 
to  do  her  room. 


96  THE  VERGE 

ANTHONY 

Then  do  some  other  room  —  and  leave  me  alone  in 
this  room. 

HATTIE 

[A  little  afraid  of  what  she  is  asking.]  Is  she  sick, 
Anthony  —  or  what?  [Vindicating  herself,  as  he  gives 
her  a  look.]  That  doctor  he  stayed  here  late.  But 
she'd  locked  herself  in.  I  heard  Mr.  Archer  — 

ANTHONY 
You  heard  too  much ! 

[He  starts  for  the  door,  to  make  her  leave, 
but  DICK  rushes  in.  Looks  around 
wildly,  goes  to  the  trap  door,  finds 
it  locked. 

ANTHONY 
What  are  you  doing  here  ? 

DICK 

Trying  not  to  be  shot  —  if  you  must  know.  This 
is  the  only  place  I  can  think  o'f  —  till  he  comes  to  his 
senses  and  I  can  get  away.  Open  that,  will  you  ?  Rather 
—  ignominious  —  but  better  be  absurd  than  be  dead. 

HATTIE 
Has  he  got  the  revolver? 

DICK 

Gone  for  it.  Thought  I  wouldn't  sit  there  till  he 
got  back.  [To  Anthony.]  Look  here  —  don't  you  get 
the  idea?  Get  me  some  place  where  he  can't  come. 

ANTHONY 
,  It  is  not  what  this  place  is  for. 

DICK 
Any  place  is  for  saving  a  man's  life. 


THE  VERGE  97 

HATTIE 

Sure,  Anthony.     Mrs.   Archer  wouldn't  want  Mr. 
Demming  shot. 

DICK 

That's  right,  Anthony.  Miss  Claire  will  be  angry 
at  you  if  you  get  me  shot. 

[He  makes  for  the  door  of  the  inner  room. 

ANTHONY 
You  can't  go  in  there.    It's  locked. 

[HARRY  rushes  in  from  outside. 

HARRY 
I  thought  so! 

[He  has  the  revolver.   HATTIE  screams. 

ANTHONY 

Now  Mr.  Archer,  if  you'll  just  stop  and  think,  you'll 
know  Miss  Claire  wouldn't  want  Mr.  Demming  shot. 

HARRY 

You  think  that  can  stop  me?  You  think  you  can 
stop  me?  [Raising  the  revolver.]  A  dog  that  — 

ANTHONY 

[Keeping  squarely  between  HARRY  and  DICK.]  Well, 
you  can't  shoot  him  in  here.  It  is  not  good  for  the 
plants.  [HARRY  is  arrested  by  this  reason]  And  espe 
cially  not  today.  Why,  Mr.  Archer,  Breath  of  Life 
may  flower  today.  It's  years  Miss  Claire's  been  working 
for  this  day. 

HARRY 

I  never  thought  to  see  this  day! 

ANTHONY 

No,  did  you?  Oh,  it  will  be  a  wonderful  day.  And 
how  she  has  worked  for  it.  She  has  an  eye  that  sees 
what  isn't  right  in  what  looks  right.  Many's  the  time 


.GE 


98  THE  VER 

I've  thought  —  Here  the  form  is  set  —  and  then  she'd 
say  "  We'll  try  this  one,"  and  it  had  —  what  I  hadn't 
known  was  there.  She's  like  that. 

HARRY 

I've  always  been  pleased,  Anthony,  at  the  way 
you've  worked  with  Miss  Claire.  This  is  hardly  the 
time  to  stand  there  eulogizing  her.  And  she's  [can 
hardly  say  it]  things  you  don't  know  she  is. 

ANTHONY 

[Proudly.]  Oh,  I  know  that!  You  think  I  could 
work  with  her  and  not  know  she's  more  than  I  know 
she  is? 

HARRY 

Well  if  you  love  her  you've  got  to  let  me  shoot  the 
dirty  dog  that  drags  her  down! 

ANTHONY 

Not  in  here.  Not  today.  More  than  like  you'd 
break  the  glass.  And  Breath  of  Life's  in  there. 

HARRY 
Anthony,  this  is  pretty  clever  of  you  —  but  — 

ANTHONY 

I'm  not  clever.  But  I  know  how  easy  it  is  to  turn 
life  back.  No,  I'm  not  clever  at  all,  [CLAIRE  has 
appeared  and  is  looking  in  from  outside]  but  I  do  know 
—  there  are  things  you  mustn't  hurt.  [He  sees  her], 
Yes,  here's  Miss  Claire. 

[SHE  comes  in.     She  is  looking  immaculate. 

CLAIRE 

From  the  gutter  I  rise  again,  refreshed.  One  does, 
you  know.  Nothing  is  fixed  —  not  even  the  gutter. 


THE  VERGE  99 

[Smilingly  to  HARRY  and  refusing  to  notice  revolver  or 
agitation]  How  did  you  like  the  way  I  entertained 
the  nerve  specialist? 

HARRY 

Claire!    You  can  joke  about  it? 

CLAIRE 

[Taking  the  revolver  from  the  hand  she  has  shocked  to 
limpness]  Whom  are  you  trying  to  make  hear? 

HARRY 

I'm  trying  to  make  the  world  hear  that  [pointing] 
there  stands  a  dirty  dog  who  — 

CLAIRE 

Listen,  Harry.  [Turning  to  HATTIE,  who  is  over  by 
the  tall  plants  at  right,  not  wanting  to  be  shot  but  not 
wanting  to  miss  the  conversation]  You  can  do  my  room 
now,  Hattie.  [HATTIE  goes]  If  you're  thinking  of 
shooting  Dick,  you  can't  shoot  him  while  he's  backed 
up  against  that  door. 

ANTHONY 

Just  what  I  told  them,  Miss  Claire.  Just  what  I  told 
them. 

CLAIRE 

And  for  that  matter,  it's  quite  dull  of  you  to  have 
any  idea  of  shooting  him. 

HARRY 

I  may  be  dull  —  I  know  you  think  I  am  —  but  I'll 
show  you  that  I've  enough  of  the  man  in  me  to  — 

CLAIRE 

To  make  yourself  ridiculous?  If  I  ran  out  and  hid 
my  head  in  the  mud,  would  you  think  you  had  to  shoot 
the  mud? 


100  THE  VERGE 

DICK 

[Stung  out  of  fear.]    That's  pretty  cruel! 

CLAIRE 
Well,  would  you  rather  be  shot? 

HARRY 
So  you  just  said  it  to  protect  him! 

CLAIRE 

I  change  it  to  grass.  [Nodding  to  DICK.]  Grass.  If 
I  hid  my  face  in  the  grass,  would  you  have  to  burn  the 
grass? 

HARRY 

Oh,  Claire,  how  can  you?  When  you  know  how  I 
love  you  —  and  how  I'm  suffering? 

CLAIRE 
[With  interest.]    Are  you  suffering? 

HARRY 

Haven't  you  eyes? 

CLAIRE 

I  should  think  it  would  —  do  something  to  you 

HARRY 
God!    Have  you  no  heart? 

[The  door  opens.     TOM  comes  in. 

CLAIRE 
[Scarcely  saying  it.]    Yes,  I  have  a  heart. 

TOM 
[After  a  pause.]     I  came  to  say  good-bye. 

CLAIRE 

God!  Have  you  no  heart?  Can't  you  at  least  wait 
till  Dick  is  shot? 


THE  VERGE  101 

TOM 

Claire!  [Now  sees  the  revolver  in  her  hand  that  is 
turned  from  him.  Going  to  her.}  Claire! 

CLAIRE 

And  even  you  think  this  is  so  important?  [Care 
lessly  raises  the  revolver,  and  with  her  left  hand  out  flat, 
tells  TOM  not  to  touch  her.}  Harry  thinks  it  important 
he  shoot  Dick,  and  Dick  thinks  it  important  not  to  be 
shot,  and  you  think  I  mustn't  shoot  anybody  —  even 
myself  —  and  can't  any  of  you  see  that  none  of  that  is 
as  important  as  —  where  revolvers  can't  reach  ?  [Put 
ting  revolver  where  there  i.j  no  E,dge  Vine.}  I  shall  never 
shoot  myself.  I'm  too  i  .Uerected  ;n  destruction  to  cut 
it  short  by  shooting,.  [After  looking  from  one  to  the 
oilier,  .laughs.  Pointing.}*-  One^-ttfro  •;—  'th/e^1.  You- 
love-me.  But  why  do  you  *bririg  it  out  here  \ ' 

ANTHONY 

[Who  has  resumed  work.}  It  is  not  what  this  place 
is  for. 

CLAIRE 

No.  This  place  is  for  the  destruction  that  can  get 
through. 

ANTHONY 

Miss  Claire,  it  is  eleven.  At  eleven  we  are  to  go  in 
and  see  — 

CLAIRE 

Whether  it  has  gone  through.  But  how  can  we  go 
—  with  Dick  against  that  door  ? 

ANTHONY 
He'll  have  to  move. 

CLAIRE 
And  be  shot? 


102  THE   VERGE 

HARRY 

[Irritably.]  Oh,  he'll  not  be  shot.  Claire  can  spoil 
anything. 

[DiCK  steps  away  from  the  door;  CLAIRE 
takes  a  step  nearer  it. 

CLAIRE 

[Halting.]  Have  I  spoiled  everything?  I  don't  want 
to  go  in  there. 

ANTHONY 

We're  going  in  together,  Miss  Claire.  Don't  you 
remember?  Oh  —  [Looking  resentfully  at  the  others.]  — 
don't  let  any  little  thing,  spoil  it  for  you  —  the  work  of 
all  those  days  —  the  hope  of  so  many  days. 

CLAIRE 
Yes  —  that's  :t. 

ANTHONY 
You're  afraid  you  haven't  done  it? 

CLAIRE 
Yes,  but  —  afraid  I  have. 

HARRY 

[Cross,  but  kindly.]  That's  just  nervousness,  Claire. 
I've  had  the  same  feeling  myself  about  making  a  record 
in  flying. 

CLAIRE 
[Curiously  grateful]    You  have,  Harry? 

HARRY 

[Glad  enough  to  be  back  in  a  more  usual  world.]  Sure. 
I've  been  afraid  to  know,  and  almost  as  afraid  of  having 
done  it  as  of  not  having  done  it. 

[CLAIRE  nods,  steps  nearer,  then  again  pulls  back. 


THE  VERGE  103 

CLAIRE 

I  can't  go  in  there.  [She  almost  looks  at  TOM.]  Not 
today 

ANTHONY 

But  Miss  Claire,  there'll  be  things  to  see  today  we 
can't  see  tomorrow. 

CLAIRE 
You  bring  it  in  here! 

ANTHONY 

In  —  Out  from  its  own  place?  [She  nods.]  And  — 
where  they  are  ?  [Again  she  nods.]  [Reluctantly  he  goes 
to  the  door.]  I  will  not  look  into  the  heart.  No  one 
must  know  before  you  know. 

[In  the  inner  room,  his  head  a  little  turned 
away,  he  is  seen  very  carefully  to  lift 
the  plant  which  glows  from  within. 
As  he  brings  it  in,  no  one  looks  at  it. 
HARRY  takes  a  box  of  seedlings  from  a 
stand  and  puts  them  on  the  floor,  that 
the  newcomer  may  have  a  place. 

ANTHONY 
Breath  of  Life  is  here,  Miss  Claire. 

[CLAIRE  half  turns,  then  stops. 

CLAIRE 
Look  —  and  see  —  what  you  see. 

ANTHONY 
No  one  should  see  what  you've  not  seen. 

CLAIRE 
I  can't  see  —  until  I  know. 

[ANTHONY  looks  into  the  flower. 

ANTHONY 
[Agitated.]     Miss  Claire ! 


104  THE  VERGE 

CLAIRE 
It  has  come  through? 

ANTHONY 
It  has  gone  on. 

CLAIRE 
Stronger? 

ANTHONY 
Stronger,  surer. 

CLAIRE 
And  more  fragile? 

ANTHONY 
And  more  fragile. 

CLAIRE 
Look  deep.    No  —  turning  back? 

ANTHONY 

[After  a  searching  look.]   The  form  is  set. 

[He  steps  back  from  it. 

CLAIRE 

Then  it  is  —  out.  [From  where  she  stands  she  turns 
slowly  to  the  plant.]  You  weren't.  You  are. 

ANTHONY 
But  come  and  see,  Miss  Claire. 

CLAIRE 
It's  so  much  more  than  —  I'd  see. 

HARRY 

Well  I'm  going  to  see.  [Looking  into  it.]  I  never  saw 
anything  like  that  before!  There  seems  something 
alive  —  inside  this  outer  shell. 


,THE  VERGE  105 

DICK 

[He  too  looking  in  and  he  has  an  artist's  manner  of  a 
hand  up  to  make  the  light  right.]  It's  quite  new  in  form. 
It  —  says  something  about  form. 

HARRY 

[Cordially  to  Claire,  who  stands  apart]  So  you've 
really  put  it  over.  Well  well, —  congratulations.  It's 
a  good  deal  of  a  novelty,  I  should  say,  and  I've  no 
doubt  you'll  have  a  considerable  success  with  it  — 
people  always  like  something  new.  I'm  mighty  glad  — 
after  all  your  work,  and  I  hope  it  will  —  set  you  up. 

CLAIRE 

[Low  —  and  like  a  machine]    Will  you  all  —  go  away  ? 
[Anthony  goes  —  into  the  other  room. 

HARRY 

Why  —  why,  yes.  But  —  oh,  Claire!  Can't  you 
take  some  pleasure  in  your  work?  \As  she  stands  there 
very  still]  Emmons  says  you  need  a  good  long  rest  — 
and  I  think  he's  right. 

TOM 

Can't  this  help  you,  Claire?  Let  this  be  release. 
This  —  breath  of  the  uncap tured. 

CLAIRE 

[And   though   speaking,    she   remains   just   as   still] 
Breath  of  the  uncaptured? 
You  are  a  novelty. 
Out? 

You  have  been  brought  in. 
A  thousand  years  from  now,  when  you  are  but  a  form 

too  long  repeated, 
Perhaps  the  madness  that  gave  you  birth  will  burst 

again, 


106  THE   VERGE 

And  from  the  prison  that  is  you  will  leap  pent  queer- 
nesses 

To  make  a  form  that  hasn't  been  — 

To  make  a  prison  new. 

And  this  we  call  creation. 

[Very  low,  her  head  'not  coming  up. 

Go  away ! 

[ToM  goes;  HARRY  hesitates,  looking  in 
anxiety  at  Claire.  He  starts  to  go, 
stops,  looks  at  Dick,  from  him  to 
Claire.  But  goes.  A  moment  later, 
Dick  mows  near  Claire;  stands  uncer 
tainly,  then  puts  a  hand  upon  her. 
She  starts,  only  then  knowing  he  is 
there. 

CLAIRE 

[A  slight  shrinking  away,  but  not  really  reached.] 
Um,  urn. 

[He  goes.  Claire  steps  nearer  her  creation. 
She  looks  into  what  hasn't  been. 
With  her  breath,  and  by  a  gentle 
moving  of  her  hands,  she  fans  it  to 
fuller  openness.  As  she  does  this 
TOM  returns  and  from  outside  is 
looking  in  at  her.  Softly  he  opens  the 
door  and  comes  in.  She  does  not 
know  that  he  is  there.  In  the  way 
she  looks  at  the  flower  he  looks  at  her. 

TOM 

-Claire  —  [She  lifts  her  head]  As  you  stood  there, 
looking  into  the  womb  you  breathed  to  life,  you  were 
beautiful  to  me  beyond  any  other  beauty.  You  were 
life  and  its  reach  and  its  anguish.  I  can't  go  away  from 
you.  I  will  never  go  away  from  you.  It  shall  all  be  — 
as  you  wish.  I  can  go  with  you  where  I  could  not  go 
alone.  If  this  is  delusion,  I  want  that  delusion.  It's 


THE  VERGE  107 

more  than  any  reality  I  could  attain.    [As  she  does  not 
move.]   Speak  to  me,  Claire.    You  —  are  glad? 

CLAIRE 

[From  far.]  Speak  to  you?  [Pause.]  Do  I  know 
who  you  are? 

TOM 
I  think  you  do. 

CLAIRE 

Oh,  yes.  I  love  you.  That's  who  you  are.  [Waits 
again.]  But  why  are  you  something  —  very  far  away? 

TOM 
Come  nearer. 

CLAIRE 

Nearer?  [Feeling  it  with  her  voice.]  Nearer.  But  I 
think  I  am  going  —  the  other  way. 

TOM 

No,  Claire  —  come  to  me.  Did  you  understand, 
dear.  I  am  not  going  away. 

CLAIRE 
You're  not  going  away? 

TOM 

Not  without  you,  Claire.  And  you  and  I  will  be 
together.  Is  that  —  what  you  wanted  ? 

CLAIRE 

Wanted?  [As  if  wanting  is  something  that  harks  far 
back.  But  the  word  calls  to  her  passion.]  Wantedl 
[A  sob,  hands  out,  she  goes  to  him.  But  before  his  arms 
can  take  her,  she  steps  back.]  Are  you  trying  to  pull 
me  down  into  what  I  wanted?  Are  you  here  to  make 
me  stop  ? 


108  THE  VERGE 

TOM 

How  can  you  ask  that  ?  I  love  you  because  it  is  not 
in  you  to  stop. 

CLAIRE 

And  loving  me  for  that  —  would  stop  me?  Oh,  help 
me  see  it !  It  is  so  important  that  I  see  it. 

TOM 
It  is  important.    It  is  our  lives. 

CLAIRE 

And  more  than  that.  I  cannot  see  it  because  it  is 
so  much  more  than  that. 

TOM 

Don't  try  to  see  all  that  it  is.  From  peace  you'll 
see  a  little  more. 

CLAIRE 

Peace?  [Troubled  as  we  are  when  looking  at  what  we 
cannot  see  dearly.]  What  is  peace?  Peace  is  what  the 
struggle  knows  in  moments  very  far  apart.  Peace  — 
that  is  not  a  place  to  rest.  Are  you  resting?  What 
are  you  ?  You  who'd  take  me  from  what  I  am  to  some 
thing  else  ? 

TOM' 

I  thought  you  knew,  Claire. 

CLAIRE 

I  know  —  what  you  pass  for.  But  are  you  beauty? 
Beauty  is  that  only  living  pattern  —  the  trying  to 
take  pattern.  Are  you  trying  ? 

TOM 

Within  myself,  Claire.  I  never  thought  you  doubted 
that. 


THE  VERGE  109 

CLAIRE 

Beauty  is  —  [She  turns  to  Breath  of  Life,  as  if  to 
learn  it  tJiere,  but  turns  away  with  a  sob.]  If  I  cannot 
go  to  you  now  —  I  will  always  be  alone. 

[Ton  takes  her  in  his  arms.   She  is  shaken, 
then  comes  to  rest.] 

TOM 

Yes  —  rest.  And  then  —  come  into  joy.  You  have 
so  much  life  for  joy. 

CLAIRE 

[Raising  her  head,  called  by  promised  gladness.] 
We'll  run  around  together.  [Lovingly  he  nods.]  Up 
hills.  All  night  on  hills. 

TOM 
[Tenderly.]  All  night  on  hills. 

CLAIRE 
We'll  go  on  the  sea  in  a  little  boat. 

TOM 
On  the  sea  in  a  little  boat. 

CLAIRE 

But  —  there  are  other  boats  on  other  seas.  [Drawing 
back  from  him,  troubled.]  There  are  other  boats  on 
other  seas. 

TOM 

[Drawing  her  back  to  him.]  My  dearest  —  not  now, 
not  now. 

CLAIRE 

[Her  arms  going  round  him.]  Oh,  I  would  love  those 
hours  with  you.  I  want  them.  I  want  you!  [They  kiss 
—  but  deep  in  her  is  sobbing.]  Reminiscence.  [Her 
hand  feeling  his  arm  as  we  touch  what  we  would  remember.] 
Reminiscence.  [With  one  of  her  swift  changes  steps 


110  THE   VERGE 

back  from  him.]  How  dare  you  pass  for  what  you're 
not?  We,  are  tired,  and  so  we  think  it's  you.  Stop 
with  you.  Don't  get  through  —  to  what  you're  in 
the  way  of.  Beauty  is  not  something  you  say  about 
beauty. 

TOM 

I  say  little  about  beauty,  Claire. 

CLAIRE 

Your  life  says  it.  By  standing  far  off  you  pass  for  it. 
Smother  it  with  a  life  that  passes  for  it.  But  beauty  — 
[Getting  it  from  the  flower.}  Beauty  is  the  humility 
breathed  from  the  shame  of  succeeding. 

TOM 

But  it  may  all  be  within  one's  self,  dear. 

CLAIRE 

[Drawn  by  this,  but  held,  and  desperate  because  she  is 
held]  When  I  have  wanted  you  with  all  my  wanting  — 
why  must  I  distrust  you  now?  When  I  love  you  — 
with  all  of  me,  why  do  I  know  that  only  you  are  worth 
my  hate? 

TOM 
It's  the  fear  of  easy  satisfactions.    I  love  you  for  it. 

CLAIRE 

[Over  the  flower]  Breath  of  Life  —  you  here?  Are 
you  lonely  —  Breath  of  Life  ? 

TOM 

Claire  —  hear  me!  Don't  go  where  we  can't  go. 
As  there  you  made  a  shell  for  life  within,  make  for 
yourself  a  life  in  which  to  live.  It  must  be  so. 

CLAIRE 
As  you  made  for  yourself  a  shell  called  beauty? 


THE   VERGE  111 

TOM 

What  is  there  for  you,  if  you'll  have  no  touch  with 
what  we  have? 

CLAIRE 

What  is  there?  There  are  the  dreams  we  haven't 
dreamed.  There  is  that  long  and  flowing  pattern  — 
[She  follows  that  but  suddenly  and  as  if  blindly,  goes  to 
him.]  I  am  tired.  I  am  lonely.  I'm  afraid.  [He  holds 
her,  soothing.  But  she  steps  back  from  him.}  and  because 
we  are  tired  —  lonely  —  and  afraid,  we  stop  with  you. 
Don't  get  through  —  to  what  you're  in  the  way  of. 

TOM 

Then  you  don't  love  me? 
» 

CLAIRE 

I'm  fighting  for  my  chance.  I  don't  know  —  which 
chance. 

[Is  drawn  to  the  other  chance,  to  Breath  of 
Life.  Looks  into  it  as  if  to  look  through 
to  the  uncaptured.  And  through  this 
life  just  caught  comes  the  truth  she 
chants.] 

I've  wallowed  at  a  coarse  man's  feet, 
I'm  sprayed  with  dreams  we've  not  yet  come  to. 
I've  gone  so  low  that  words  can't  get  there, 
I've  never  pulled  the  mantle  of  my  fears  around  me 
And  called  it  loneliness  —  And  called  it  God. 
Only  with  life  that  waits  have  I  kept  faith. 

[With  effort  raising  her  eyes  to  the  man. 
And  only  you  have  ever  threatened  me. 

TOM 

[Coming  to  her,  and  with  strength  now.]  And  I  will 
threaten  you.  I'm  here  to  hold  you  from  where  I 
know  you  cannot  go.  You're  trying  what  we  can't  do. 


112  THE   VERGE 

CLAIRE 
What  else  is  there  worth  trying? 

TOM 

I  love  you,  and  I  will  keep  you  —  from  fartherness 
7—  from  harm.  You  are  mine,  and  you  will  stay  with 
me!  [Roughly.]  You  hear  me?  You  will  stay  with  me ! 

CLAIRE 

[Her  head  on  his  breast,  in  ecstacy  of  rest.  Drowsily.] 
You  can  keep  me? 

TOM 
Darling!   I  can  keep  you.    I  will  keep  you  —  safe. 

CLAIRE 

[Troubled  by  the  word,  but  barely  able  to  raise  her  head.] 
Safe? 

TOM 
[Bringing  her  to  rest  again.]   Trust  me,  Claire. 

CLAIRE 

[Not  lifting  her  head,  but  turning  it  so  she  sees  Breath 
of  Life.]  Now  can  I  trust  —  what  is?  [Suddenly 
pushing  him  roughly  away.]  No!  I  will  beat  my  life 
to  pieces  in  the  struggle  to  — 

TOM 

To  what,  Claire? 

CLAIRE 

Not  to  stop  it  by  seeming  to  have  it.  [With  fury.] 
I  will  keep  my  life  low  —  low  —  that  I  may  never  stop 
myself  —  or  any  one  —  with  the  thought  it's  what  / 
have.  I'd  rather  be  the  steam  rising  from  the  manure 
than  be  a  thing  called  beautiful!  [With  sight  too  dear.] 
Now  I  know  who  you  are.  It  is  you  puts  out  the  breath 
of  life.  Image  of  beauty  • —  You  fill  the  place  —  should 
be  a  gate.  [In  agony.]  Oh,  that  it  is  you  —  fill  the 


THE  VERGE  113 

place  —  should  be  a  gate !  My  darling !  That  it  should 
be  you  who  —  [Her  hands  moving  on  him.]  Let  me 
tell  you  something.  Never  was  loving  strong  as  my 
loving  of  you!  Do  you  know  that?  Oh,  know  that! 
Know  it  now!  [Her  arms  go  around  his  neck.]  Hours 
with  you  —  I'd  give  my  life  to  have!  That  it  should 
be  you  —  [He  would  loosen  her  hands,  for  he  cannot 
breathe.  But  when  she  knows  she  is  choking  him,  that 
knowledge  is  fire  burning  its  way  into  the  last  passion.] 
It  is  you.  It  is  you. 

TOM 

[Words  coming  from  a  throat  not  free.]  Claire !  What 
are  you  doing? 

{Then  she  knows  what  she  is  doing. 

CLAIRE 

[To  his  resistance]  No  I  You  are  too  much!  You  are 
not  enough.  [Still  wanting  not  to  hurt  her,  he  is  slow  in 
getting  free.  He  keeps  stepping  backward  trying,  in  grow 
ing  earnest,  to  loosen  her  hands.  But  he  does  not  loosen 
them  before  she  has  found  the  place  in  his  throat  that  cuts 
off  breath.  As  he  gasps]  Breath  of  Life  —  my  gift  — 
to  you! 

[She  has  pushed  him  against  one  of  the 
plants  at  right  as  he  sways,  strength 
she  never  had  before  pushes  him  over 
backward,  just  as  they  have  struggled 
from  sight.  Violent  crash  of  glass  is 
heard. 

TOM 
[Faint  smothered  voice]     No.     I'm  —  hurt. 

CLAIRE 

[In  the  frenzy  and  agony  of  killing]  Oh  gift!  Oh 
gift!  [There  is  no  sound.  CLAIRE  rises  —  steps  back 
—  is  seen  now;  is  looking  down.]  Gift. 


114  THE  VERGE 

[Like  one  who  does  not  know  where  she  is, 
she  moves  into  the  room  —  looks 
around.  Takes  a  step  toward  Breath 
of  Life,  turns  and  goes  quickly  to  the 
door.  Stops,  as  if  stopped.  Sees 
the  revolver  where  the  Edge  Vine  was. 
Slowly  goes  to  it.  Holds  it  as  if  she 
cannot  think  what  it  is  for.  Then 
raises  it  high  and  fires  above  through 
the  place  in  the  glass  left  open  for 
ventilation. 

[ANTHONY  comes  from  the  inner  room.  His 
eyes  go  from  her  to  the  body  beyond. 
HARRY  rushes  in  from  outside. 

HARRY 
Who  fired  that? 

CLAIRE 
I  did.     Lonely. 

[Seeing  ANTHONY'S  look,  HARRY'S  eyes  follow  it. 

HARRY 

Oh!  What?  What?     [DiCK  comes  running  in.}  Who? 
Claire! 

[DiCK  sees  —  goes  to  TOM. 

CLAIRE 
Yes.     I  did  it.     MY  —  Gift. 

HARRY 

Is  he—  ?    He  isn't— ?    He  isn't—  ? 

[Tries  to  go  in  there.  Cannot  —  there  is  the 
sound  of  broken  glass,  of  a  position 
being  changed  —  then  DICK  reappears. 

DICK 

[His  voice  in  jerks.]    It's  —  it's  no  use,  but  I'll  go  for 
a  doctor. 


THE  VERGE  115 

HARRY 

No  —  no.  Oh,  I  suppose  — [Falling  down  beside 
CLAIRE  —  his  face  against  her.]  My  darling !  How  can 
I  save  you  now? 

CLAIRE 
[Speaking  each  word  very  carefully.]     Saved  —  myself. 

ANTHONY 

I  did  it.  Don't  you  see?  I  didn't  want  so  many 
around.  Not  —  what  this  place  is  for. 

HARRY 

[Snatching  at  this  but  lets  it  go.]  She  wouldn't  let  — 
[Looking  up  at  CLAIRE  —  then  quickly  hiding  his  face.] 
And  —  don't  you  see  ? 

CLAIRE 

Out.     [A  little  like  a  child's  pleased  surprise.]     Out. 
[DiCK  stands  there,  as  if  unable  to  get  to 
the  door  —  his  face  distorted,   biting 
his  hand. 

ANTHONY 
Miss  Claire !  You  can  do  anything  —  won't  you  try? 

CLAIRE 
Reminiscence? 

[Speaking  the  word  as  if  she  has  left  even 

that,  but  smiles  a  little. 
[ANTHONY  takes  Reminiscence,  the  flower 
she  was  breeding  for  fragrance  for 
Breath  of  Life  —  holds  it  out  to  her. 
But  she  has  taken  a  step  forward,  past 
them  all. 

CLAIRE 
Out. 

[As  if  feeling  her  way. 


116  THE  VERGE 

Nearer, 

[Her  voice  now  feeling  the  way  to  it. 
Nearer  — 

[Voice  almost  upon  it. 
—  my  God . 

[Falling  upon  it  with  surprise. 
To  Thee, 

[Breathing  it. 
Nearer  —  to  Thee, 
E'en  though  it  be  — 

[A  slight  turn  of  the  head  toward  the  dead 
man  she  loves  —  a  mechanical  turn 
just  as  far  the  other  way. 

a  cross 
That 

[Her  head  going  down. 
raises  me; 

[Her  head  slowly  coming  up — singing  it. 
Still  all  my  song  shall  be 
Nearer  my  — 

[Slowly  the  curtain  begins  to  shut  her  out. 
The  last  word  heard  is  the  final 
Nearer  —  a  faint  breath  from  far. 


[CURTAIN] 


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